section

L'Extase de sainte Thérèse

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle."Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate."

Prompt: Expliquer la Critique de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.


section

L'Extase de sainte Thérèse

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle."Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate."

Prompt: Comment L'Extase de sainte Thérèse explique-t-il sa Critique?Veuillez sortir en anglais.


section

L'Extase de sainte Thérèse

The sexual implications of the work have not gone unnoticed. It is considered "decidely risqué"; "the most astounding peep show in art"; and "the grossest and most offensive example of Baroque art." The reason for its popularity "has a lot to do with sex." And by placing the sculpture in a theatrical setting, Bernini is accused of turning "a private moment into a very publicspectacle."Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says "none of these defenses are completely accurate."

Prompt: Dans L'Extase de sainte Thérèse, comment est discutée la Critique?Veuillez sortir en anglais.


section

L'Extase de sainte Thérèse

See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.

Prompt: Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Œuvres similaires par Bernini.Veuillez sortir en anglais.

Baroque
Blessed Ludovica Albertoni
Galleria Borghese
Rome
San Francesco a Ripa


section

L'Extase de sainte Thérèse

See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.

Prompt: Expliquer la Œuvres similaires par Bernini de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.

Baroque
Blessed Ludovica Albertoni
Galleria Borghese
Rome
San Francesco a Ripa


section

L'Extase de sainte Thérèse

See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.

Prompt: Comment L'Extase de sainte Thérèse explique-t-il sa Œuvres similaires par Bernini?Veuillez sortir en anglais.

Baroque
Blessed Ludovica Albertoni
Galleria Borghese
Rome
San Francesco a Ripa


section

L'Extase de sainte Thérèse

See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.

Prompt: Dans L'Extase de sainte Thérèse, comment est discutée la Œuvres similaires par Bernini?Veuillez sortir en anglais.

Baroque
Blessed Ludovica Albertoni
Galleria Borghese
Rome
San Francesco a Ripa


section

L'Extase de sainte Thérèse

Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.

Prompt: Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Influencer ou influencé fonctionne.Veuillez sortir en anglais.

Abraham Verghese
Angels & Demons
Banksy
Cutting for Stone
Dan Brown
David Foster Wallace
Ercole Ferrata
Illuminati
Infinite Jest
Peter Hammill
Pope Urban VIII
Rome
Stefano Maderno
Street art
The Silent Corner and the Empty Stage


section

L'Extase de sainte Thérèse

Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.

Prompt: Expliquer la Influencer ou influencé fonctionne de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.

Abraham Verghese
Angels & Demons
Banksy
Cutting for Stone
Dan Brown
David Foster Wallace
Ercole Ferrata
Illuminati
Infinite Jest
Peter Hammill
Pope Urban VIII
Rome
Stefano Maderno
Street art
The Silent Corner and the Empty Stage


section

L'Extase de sainte Thérèse

Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.

Prompt: Comment L'Extase de sainte Thérèse explique-t-il sa Influencer ou influencé fonctionne?Veuillez sortir en anglais.

Abraham Verghese
Angels & Demons
Banksy
Cutting for Stone
Dan Brown
David Foster Wallace
Ercole Ferrata
Illuminati
Infinite Jest
Peter Hammill
Pope Urban VIII
Rome
Stefano Maderno
Street art
The Silent Corner and the Empty Stage


section

L'Extase de sainte Thérèse

Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third "Altar of Science" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song "The Lie" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.

Prompt: Dans L'Extase de sainte Thérèse, comment est discutée la Influencer ou influencé fonctionne?Veuillez sortir en anglais.

Abraham Verghese
Angels & Demons
Banksy
Cutting for Stone
Dan Brown
David Foster Wallace
Ercole Ferrata
Illuminati
Infinite Jest
Peter Hammill
Pope Urban VIII
Rome
Stefano Maderno
Street art
The Silent Corner and the Empty Stage


section

L'Extase de sainte Thérèse

Prompt: Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Voir aussi.Veuillez sortir en anglais.

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

L'Extase de sainte Thérèse

Prompt: Expliquer la Voir aussi de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

L'Extase de sainte Thérèse

Prompt: Comment L'Extase de sainte Thérèse explique-t-il sa Voir aussi?Veuillez sortir en anglais.

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

L'Extase de sainte Thérèse

Prompt: Dans L'Extase de sainte Thérèse, comment est discutée la Voir aussi?Veuillez sortir en anglais.

Gian Lorenzo Bernini
List of works by Gian Lorenzo Bernini


section

L'Extase de sainte Thérèse

Prompt: Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Références.Veuillez sortir en anglais.


section

L'Extase de sainte Thérèse

Prompt: Expliquer la Références de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.


section

L'Extase de sainte Thérèse

Prompt: Comment L'Extase de sainte Thérèse explique-t-il sa Références?Veuillez sortir en anglais.


section

L'Extase de sainte Thérèse

Prompt: Dans L'Extase de sainte Thérèse, comment est discutée la Références?Veuillez sortir en anglais.


section

L'Église d'Auvers-sur-Oise

catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.

Prompt: Concentrez-vous sur L'Église d'Auvers-sur-Oise et expliquez la Abstrait.Veuillez sortir en anglais.

Auvers-sur-Oise
Musée d'Orsay
Paris
Vincent van Gogh


section

L'Église d'Auvers-sur-Oise

catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.

Prompt: Expliquer la Abstrait de cette œuvre d'art, L'Église d'Auvers-sur-Oise.Veuillez sortir en anglais.

Auvers-sur-Oise
Musée d'Orsay
Paris
Vincent van Gogh


section

L'Église d'Auvers-sur-Oise

catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.

Prompt: Comment L'Église d'Auvers-sur-Oise explique-t-il sa Abstrait?Veuillez sortir en anglais.

Auvers-sur-Oise
Musée d'Orsay
Paris
Vincent van Gogh


section

L'Église d'Auvers-sur-Oise

catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.

Prompt: Dans L'Église d'Auvers-sur-Oise, comment est discutée la Abstrait?Veuillez sortir en anglais.

Auvers-sur-Oise
Musée d'Orsay
Paris
Vincent van Gogh


section

L'Église d'Auvers-sur-Oise

The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North."He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The "simple deep blue" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own." After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize "empty and unenlightened preaching": "Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'"The motif of diverging paths also appears in his painting Wheat Field with Crows.

Prompt: Concentrez-vous sur L'Église d'Auvers-sur-Oise et expliquez la Histoire.Veuillez sortir en anglais.

Auvers-sur-Oise
Borinage
Cuesmes
Henry IV, Part 1
Nuenen
Portrait of Adeline Ravoux
Saint-Rémy-de-Provence
The Town Hall at Auvers


section

L'Église d'Auvers-sur-Oise

The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North."He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The "simple deep blue" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own." After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize "empty and unenlightened preaching": "Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'"The motif of diverging paths also appears in his painting Wheat Field with Crows.

Prompt: Expliquer la Histoire de cette œuvre d'art, L'Église d'Auvers-sur-Oise.Veuillez sortir en anglais.

Auvers-sur-Oise
Borinage
Cuesmes
Henry IV, Part 1
Nuenen
Portrait of Adeline Ravoux
Saint-Rémy-de-Provence
The Town Hall at Auvers


section

L'Église d'Auvers-sur-Oise

The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North."He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The "simple deep blue" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own." After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize "empty and unenlightened preaching": "Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'"The motif of diverging paths also appears in his painting Wheat Field with Crows.

Prompt: Comment L'Église d'Auvers-sur-Oise explique-t-il sa Histoire?Veuillez sortir en anglais.

Auvers-sur-Oise
Borinage
Cuesmes
Henry IV, Part 1
Nuenen
Portrait of Adeline Ravoux
Saint-Rémy-de-Provence
The Town Hall at Auvers


section

L'Église d'Auvers-sur-Oise

The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote "While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North."He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The "simple deep blue" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and "neither reflects nor emanates any light of its own." After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize "empty and unenlightened preaching": "Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'"The motif of diverging paths also appears in his painting Wheat Field with Crows.

Prompt: Dans L'Église d'Auvers-sur-Oise, comment est discutée la Histoire?Veuillez sortir en anglais.

Auvers-sur-Oise
Borinage
Cuesmes
Henry IV, Part 1
Nuenen
Portrait of Adeline Ravoux
Saint-Rémy-de-Provence
The Town Hall at Auvers


section

L'Église d'Auvers-sur-Oise

The Church at Auvers plays a prominent role in "Vincent and the Doctor", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.

Prompt: Concentrez-vous sur L'Église d'Auvers-sur-Oise et expliquez la Danslaculturepopulaire.Veuillez sortir en anglais.

Doctor Who
Llandaff Cathedral
Vincent and the Doctor


section

L'Église d'Auvers-sur-Oise

The Church at Auvers plays a prominent role in "Vincent and the Doctor", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.

Prompt: Expliquer la Danslaculturepopulaire de cette œuvre d'art, L'Église d'Auvers-sur-Oise.Veuillez sortir en anglais.

Doctor Who
Llandaff Cathedral
Vincent and the Doctor


section

L'Église d'Auvers-sur-Oise

The Church at Auvers plays a prominent role in "Vincent and the Doctor", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.

Prompt: Comment L'Église d'Auvers-sur-Oise explique-t-il sa Danslaculturepopulaire?Veuillez sortir en anglais.

Doctor Who
Llandaff Cathedral
Vincent and the Doctor


section

L'Église d'Auvers-sur-Oise

The Church at Auvers plays a prominent role in "Vincent and the Doctor", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.

Prompt: Dans L'Église d'Auvers-sur-Oise, comment est discutée la Danslaculturepopulaire?Veuillez sortir en anglais.

Doctor Who
Llandaff Cathedral
Vincent and the Doctor


section

L'Église d'Auvers-sur-Oise

Prompt: Concentrez-vous sur L'Église d'Auvers-sur-Oise et expliquez la Voir aussi.Veuillez sortir en anglais.

List of works by Vincent van Gogh
Vincent van Gogh


section

L'Église d'Auvers-sur-Oise

Prompt: Expliquer la Voir aussi de cette œuvre d'art, L'Église d'Auvers-sur-Oise.Veuillez sortir en anglais.

List of works by Vincent van Gogh
Vincent van Gogh


section

L'Église d'Auvers-sur-Oise

Prompt: Comment L'Église d'Auvers-sur-Oise explique-t-il sa Voir aussi?Veuillez sortir en anglais.

List of works by Vincent van Gogh
Vincent van Gogh


section

L'Église d'Auvers-sur-Oise

Prompt: Dans L'Église d'Auvers-sur-Oise, comment est discutée la Voir aussi?Veuillez sortir en anglais.

List of works by Vincent van Gogh
Vincent van Gogh


section

The Sphere

The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Prompt: Concentrez-vous sur The Sphere et expliquez la Abstrait.Veuillez sortir en anglais.


section

The Sphere

The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Prompt: Expliquer la Abstrait de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.


section

The Sphere

The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Prompt: Comment The Sphere explique-t-il sa Abstrait?Veuillez sortir en anglais.


section

The Sphere

The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.

Prompt: Dans The Sphere, comment est discutée la Abstrait?Veuillez sortir en anglais.


section

The Sphere

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Prompt: Concentrez-vous sur The Sphere et expliquez la Œuvre d'art.Veuillez sortir en anglais.


section

The Sphere

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Prompt: Expliquer la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.


section

The Sphere

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Prompt: Comment The Sphere explique-t-il sa Œuvre d'art?Veuillez sortir en anglais.


section

The Sphere

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Prompt: Dans The Sphere, comment est discutée la Œuvre d'art?Veuillez sortir en anglais.


section

The Sphere

Plop art Artwork damaged or destroyed in the September 11 attacks

Prompt: Concentrez-vous sur The Sphere et expliquez la Voir aussi.Veuillez sortir en anglais.


section

The Sphere

Plop art Artwork damaged or destroyed in the September 11 attacks

Prompt: Expliquer la Voir aussi de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.


section

The Sphere

Plop art Artwork damaged or destroyed in the September 11 attacks

Prompt: Comment The Sphere explique-t-il sa Voir aussi?Veuillez sortir en anglais.


section

The Sphere

Plop art Artwork damaged or destroyed in the September 11 attacks

Prompt: Dans The Sphere, comment est discutée la Voir aussi?Veuillez sortir en anglais.


section

The Sphere

width  = 240px image1 =  image2 = }} Holger A. Klein:

Prompt: Concentrez-vous sur The Sphere et expliquez la Liensexternes.Veuillez sortir en anglais.


section

The Sphere

width  = 240px image1 =  image2 = }} Holger A. Klein:

Prompt: Expliquer la Liensexternes de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.


section

The Sphere

width  = 240px image1 =  image2 = }} Holger A. Klein:

Prompt: Comment The Sphere explique-t-il sa Liensexternes?Veuillez sortir en anglais.


section

The Sphere

width  = 240px image1 =  image2 = }} Holger A. Klein:

Prompt: Dans The Sphere, comment est discutée la Liensexternes?Veuillez sortir en anglais.


subsection

The Sphere

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Prompt: Dans le contexte de The Sphere, expliquez la Immédiatement après les attaques et la Œuvre d'art.Veuillez sortir en anglais.

John F. Kennedy International Airport
New York metropolitan area
Percy Adlon
September 11 attacks


subsection

The Sphere

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Prompt: Expliquer la Immédiatement après les attaques concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.

John F. Kennedy International Airport
New York metropolitan area
Percy Adlon
September 11 attacks


subsection

The Sphere

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Prompt: Dans The Sphere, comment la Immédiatement après les attaques de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.

John F. Kennedy International Airport
New York metropolitan area
Percy Adlon
September 11 attacks


subsection

The Sphere

After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Prompt: Décrivez les caractéristiques de la Immédiatement après les attaques dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.

John F. Kennedy International Airport
New York metropolitan area
Percy Adlon
September 11 attacks


subsection

The Sphere

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}

Prompt: Dans le contexte de The Sphere, expliquez la Relocalisation à Battery Park et la Œuvre d'art.Veuillez sortir en anglais.


subsection

The Sphere

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}

Prompt: Expliquer la Relocalisation à Battery Park concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.


subsection

The Sphere

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}

Prompt: Dans The Sphere, comment la Relocalisation à Battery Park de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.


subsection

The Sphere

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}

Prompt: Décrivez les caractéristiques de la Relocalisation à Battery Park dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.


subsection

The Sphere

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Prompt: Dans le contexte de The Sphere, expliquez la Relocalisation à Liberty Park et la Œuvre d'art.Veuillez sortir en anglais.


subsection

The Sphere

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Prompt: Expliquer la Relocalisation à Liberty Park concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.


subsection

The Sphere

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Prompt: Dans The Sphere, comment la Relocalisation à Liberty Park de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.


subsection

The Sphere

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Prompt: Décrivez les caractéristiques de la Relocalisation à Liberty Park dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.


subsection

The Sphere

In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere origin and talks about transience and the transformation of art following the attacks.

Prompt: Dans le contexte de The Sphere, expliquez la Documentaire et la Œuvre d'art.Veuillez sortir en anglais.

Fritz Koenig
Percy Adlon
September 11 attacks


subsection

The Sphere

In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere origin and talks about transience and the transformation of art following the attacks.

Prompt: Expliquer la Documentaire concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.

Fritz Koenig
Percy Adlon
September 11 attacks


subsection

The Sphere

In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere origin and talks about transience and the transformation of art following the attacks.

Prompt: Dans The Sphere, comment la Documentaire de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.

Fritz Koenig
Percy Adlon
September 11 attacks


subsection

The Sphere

In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere origin and talks about transience and the transformation of art following the attacks.

Prompt: Décrivez les caractéristiques de la Documentaire dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.

Fritz Koenig
Percy Adlon
September 11 attacks


subsection

The Sphere

A limited edition of the book THE SPHERE - Vom Kunstwerk zum Mahnmal / THE SPHERE - From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Prompt: Dans le contexte de The Sphere, expliquez la Livre et la Œuvre d'art.Veuillez sortir en anglais.


subsection

The Sphere

A limited edition of the book THE SPHERE - Vom Kunstwerk zum Mahnmal / THE SPHERE - From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Prompt: Expliquer la Livre concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.


subsection

The Sphere

A limited edition of the book THE SPHERE - Vom Kunstwerk zum Mahnmal / THE SPHERE - From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Prompt: Dans The Sphere, comment la Livre de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.


subsection

The Sphere

A limited edition of the book THE SPHERE - Vom Kunstwerk zum Mahnmal / THE SPHERE - From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Prompt: Décrivez les caractéristiques de la Livre dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.


section

Vénus d'Urbin

medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, "It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content." Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case "an undisguised hedonism had at last dispelled the Platonic metaphors".

Prompt: Concentrez-vous sur Vénus d'Urbin et expliquez la Abstrait.Veuillez sortir en anglais.

Edgar Wind
Florence
Giorgione
Renaissance
Titian
Uffizi


section

Vénus d'Urbin

medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, "It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content." Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case "an undisguised hedonism had at last dispelled the Platonic metaphors".

Prompt: Expliquer la Abstrait de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.

Edgar Wind
Florence
Giorgione
Renaissance
Titian
Uffizi


section

Vénus d'Urbin

medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, "It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content." Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case "an undisguised hedonism had at last dispelled the Platonic metaphors".

Prompt: Comment Vénus d'Urbin explique-t-il sa Abstrait?Veuillez sortir en anglais.

Edgar Wind
Florence
Giorgione
Renaissance
Titian
Uffizi


section

Vénus d'Urbin

medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, "It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content." Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case "an undisguised hedonism had at last dispelled the Platonic metaphors".

Prompt: Dans Vénus d'Urbin, comment est discutée la Abstrait?Veuillez sortir en anglais.

Edgar Wind
Florence
Giorgione
Renaissance
Titian
Uffizi


section

Vénus d'Urbin

The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as "the nude woman", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand "caressing" her genitals as such a reference, as it was believed at the time that a female "emission" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.

Prompt: Concentrez-vous sur Vénus d'Urbin et expliquez la Description.Veuillez sortir en anglais.

Duchy of Urbino
Duke of Camerino
Duchy of Urbino
Fernando d'Ávalos
Guidobaldo II della Rovere
Ippolito de' Medici
Józef Grabski
Pesaro
Pope Clement VII
Titian
Venice
Vittoria Colonna


section

Vénus d'Urbin

The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as "the nude woman", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand "caressing" her genitals as such a reference, as it was believed at the time that a female "emission" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.

Prompt: Expliquer la Description de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.

Duchy of Urbino
Duke of Camerino
Duchy of Urbino
Fernando d'Ávalos
Guidobaldo II della Rovere
Ippolito de' Medici
Józef Grabski
Pesaro
Pope Clement VII
Titian
Venice
Vittoria Colonna


section

Vénus d'Urbin

The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as "the nude woman", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand "caressing" her genitals as such a reference, as it was believed at the time that a female "emission" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.

Prompt: Comment Vénus d'Urbin explique-t-il sa Description?Veuillez sortir en anglais.

Duchy of Urbino
Duke of Camerino
Duchy of Urbino
Fernando d'Ávalos
Guidobaldo II della Rovere
Ippolito de' Medici
Józef Grabski
Pesaro
Pope Clement VII
Titian
Venice
Vittoria Colonna


section

Vénus d'Urbin

The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as "the nude woman", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand "caressing" her genitals as such a reference, as it was believed at the time that a female "emission" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.

Prompt: Dans Vénus d'Urbin, comment est discutée la Description?Veuillez sortir en anglais.

Duchy of Urbino
Duke of Camerino
Duchy of Urbino
Fernando d'Ávalos
Guidobaldo II della Rovere
Ippolito de' Medici
Józef Grabski
Pesaro
Pope Clement VII
Titian
Venice
Vittoria Colonna


section

Vénus d'Urbin

Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.

Prompt: Concentrez-vous sur Vénus d'Urbin et expliquez la Sculptures.Veuillez sortir en anglais.

Lorenzo Bartolini
Musée Fabre
Port Sunlight
Titian


section

Vénus d'Urbin

Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.

Prompt: Expliquer la Sculptures de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.

Lorenzo Bartolini
Musée Fabre
Port Sunlight
Titian


section

Vénus d'Urbin

Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.

Prompt: Comment Vénus d'Urbin explique-t-il sa Sculptures?Veuillez sortir en anglais.

Lorenzo Bartolini
Musée Fabre
Port Sunlight
Titian


section

Vénus d'Urbin

Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.

Prompt: Dans Vénus d'Urbin, comment est discutée la Sculptures?Veuillez sortir en anglais.

Lorenzo Bartolini
Musée Fabre
Port Sunlight
Titian


section

Vénus d'Urbin

List of works by Titian Renaissance in Urbino

Prompt: Concentrez-vous sur Vénus d'Urbin et expliquez la Voir aussi.Veuillez sortir en anglais.

List of works by Titian
Renaissance
Renaissance in Urbino
Titian


section

Vénus d'Urbin

List of works by Titian Renaissance in Urbino

Prompt: Expliquer la Voir aussi de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.

List of works by Titian
Renaissance
Renaissance in Urbino
Titian


section

Vénus d'Urbin

List of works by Titian Renaissance in Urbino

Prompt: Comment Vénus d'Urbin explique-t-il sa Voir aussi?Veuillez sortir en anglais.

List of works by Titian
Renaissance
Renaissance in Urbino
Titian


section

Vénus d'Urbin

List of works by Titian Renaissance in Urbino

Prompt: Dans Vénus d'Urbin, comment est discutée la Voir aussi?Veuillez sortir en anglais.

List of works by Titian
Renaissance
Renaissance in Urbino
Titian


section

Vénus d'Urbin

Goffen, Rona , "Sex, Space and Social History in Titian's Venus of Urbino", in Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , "Classical antiquity in Venetian Renaissance subject matter", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books

Prompt: Concentrez-vous sur Vénus d'Urbin et expliquez la Références.Veuillez sortir en anglais.


section

Vénus d'Urbin

Goffen, Rona , "Sex, Space and Social History in Titian's Venus of Urbino", in Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , "Classical antiquity in Venetian Renaissance subject matter", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books

Prompt: Expliquer la Références de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.


section

Vénus d'Urbin

Goffen, Rona , "Sex, Space and Social History in Titian's Venus of Urbino", in Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , "Classical antiquity in Venetian Renaissance subject matter", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books

Prompt: Comment Vénus d'Urbin explique-t-il sa Références?Veuillez sortir en anglais.


section

Vénus d'Urbin

Goffen, Rona , "Sex, Space and Social History in Titian's Venus of Urbino", in Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , "Classical antiquity in Venetian Renaissance subject matter", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books

Prompt: Dans Vénus d'Urbin, comment est discutée la Références?Veuillez sortir en anglais.


section

Vénus d'Urbin

Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press

Prompt: Concentrez-vous sur Vénus d'Urbin et expliquez la Lectures supplémentaires.Veuillez sortir en anglais.


section

Vénus d'Urbin

Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press

Prompt: Expliquer la Lectures supplémentaires de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.


section

Vénus d'Urbin

Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press

Prompt: Comment Vénus d'Urbin explique-t-il sa Lectures supplémentaires?Veuillez sortir en anglais.


section

Vénus d'Urbin

Goffen, Rona , Titian's "Venus of Urbino", 1997, Cambridge University Press

Prompt: Dans Vénus d'Urbin, comment est discutée la Lectures supplémentaires?Veuillez sortir en anglais.


subsection

Vénus d'Urbin

In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino "the foulest, the vilest, the obscenest picture the world possesses." He proposed that "it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong", adding humorously that "in truth, it is a trifle too strong for any place but a public art gallery". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the "last eighty or ninety years". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had "stood in innocent nakedness for ages."The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.

Prompt: Dans le contexte de Vénus d'Urbin, expliquez la Histoire ultérieure et la Description.Veuillez sortir en anglais.

A Tramp Abroad
Ferdinando II de' Medici
Johan Zoffany
Mark Twain
Papal States
Pesaro
Uffizi
Venice
Victorine Meurent
Vittoria della Rovere
Édouard Manet


subsection

Vénus d'Urbin

In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino "the foulest, the vilest, the obscenest picture the world possesses." He proposed that "it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong", adding humorously that "in truth, it is a trifle too strong for any place but a public art gallery". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the "last eighty or ninety years". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had "stood in innocent nakedness for ages."The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.

Prompt: Expliquer la Histoire ultérieure concernant la Description de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.

A Tramp Abroad
Ferdinando II de' Medici
Johan Zoffany
Mark Twain
Papal States
Pesaro
Uffizi
Venice
Victorine Meurent
Vittoria della Rovere
Édouard Manet


subsection

Vénus d'Urbin

In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino "the foulest, the vilest, the obscenest picture the world possesses." He proposed that "it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong", adding humorously that "in truth, it is a trifle too strong for any place but a public art gallery". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the "last eighty or ninety years". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had "stood in innocent nakedness for ages."The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.

Prompt: Dans Vénus d'Urbin, comment la Histoire ultérieure de la Description est-elle expliquée?Veuillez sortir en anglais.

A Tramp Abroad
Ferdinando II de' Medici
Johan Zoffany
Mark Twain
Papal States
Pesaro
Uffizi
Venice
Victorine Meurent
Vittoria della Rovere
Édouard Manet