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[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"depicts",
"moonlight"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.
| 17
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"genre",
"group portrait"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.Background
The Skagen Painters were a close-knit group of mainly Danish artists who gathered each summer from the late 1870s in the fishing village of Skagen in the far north of Jutland, painting the local fishermen and their own gatherings. P. S. Krøyer arrived there in 1882, quickly becoming the most prominent member of the group.In 1895, in a letter to his friend Oscar Björck, Krøyer wrote "I am also thinking of painting a large portrait of my wife and me together — but for that I shall definitely need good weather, so it won't be this year." In fact it was four years later, in the summer of 1899, that he finally created his large painting. Maybe it was in recognition of 10 years of marriage with Marie Triepcke as illustrated in other works of family life at the time as well as in a number of the photographs and sketches he used as a basis for the work.
| 18
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"depicts",
"Marie Krøyer"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.Background
The Skagen Painters were a close-knit group of mainly Danish artists who gathered each summer from the late 1870s in the fishing village of Skagen in the far north of Jutland, painting the local fishermen and their own gatherings. P. S. Krøyer arrived there in 1882, quickly becoming the most prominent member of the group.In 1895, in a letter to his friend Oscar Björck, Krøyer wrote "I am also thinking of painting a large portrait of my wife and me together — but for that I shall definitely need good weather, so it won't be this year." In fact it was four years later, in the summer of 1899, that he finally created his large painting. Maybe it was in recognition of 10 years of marriage with Marie Triepcke as illustrated in other works of family life at the time as well as in a number of the photographs and sketches he used as a basis for the work.
| 19
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"made from material",
"oil paint"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.Background
The Skagen Painters were a close-knit group of mainly Danish artists who gathered each summer from the late 1870s in the fishing village of Skagen in the far north of Jutland, painting the local fishermen and their own gatherings. P. S. Krøyer arrived there in 1882, quickly becoming the most prominent member of the group.In 1895, in a letter to his friend Oscar Björck, Krøyer wrote "I am also thinking of painting a large portrait of my wife and me together — but for that I shall definitely need good weather, so it won't be this year." In fact it was four years later, in the summer of 1899, that he finally created his large painting. Maybe it was in recognition of 10 years of marriage with Marie Triepcke as illustrated in other works of family life at the time as well as in a number of the photographs and sketches he used as a basis for the work.
| 20
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"depicts",
"married couple"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.Background
The Skagen Painters were a close-knit group of mainly Danish artists who gathered each summer from the late 1870s in the fishing village of Skagen in the far north of Jutland, painting the local fishermen and their own gatherings. P. S. Krøyer arrived there in 1882, quickly becoming the most prominent member of the group.In 1895, in a letter to his friend Oscar Björck, Krøyer wrote "I am also thinking of painting a large portrait of my wife and me together — but for that I shall definitely need good weather, so it won't be this year." In fact it was four years later, in the summer of 1899, that he finally created his large painting. Maybe it was in recognition of 10 years of marriage with Marie Triepcke as illustrated in other works of family life at the time as well as in a number of the photographs and sketches he used as a basis for the work.
| 23
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"depicts",
"beach"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.Background
The Skagen Painters were a close-knit group of mainly Danish artists who gathered each summer from the late 1870s in the fishing village of Skagen in the far north of Jutland, painting the local fishermen and their own gatherings. P. S. Krøyer arrived there in 1882, quickly becoming the most prominent member of the group.In 1895, in a letter to his friend Oscar Björck, Krøyer wrote "I am also thinking of painting a large portrait of my wife and me together — but for that I shall definitely need good weather, so it won't be this year." In fact it was four years later, in the summer of 1899, that he finally created his large painting. Maybe it was in recognition of 10 years of marriage with Marie Triepcke as illustrated in other works of family life at the time as well as in a number of the photographs and sketches he used as a basis for the work.
| 25
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"depicts",
"walking"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.Background
The Skagen Painters were a close-knit group of mainly Danish artists who gathered each summer from the late 1870s in the fishing village of Skagen in the far north of Jutland, painting the local fishermen and their own gatherings. P. S. Krøyer arrived there in 1882, quickly becoming the most prominent member of the group.In 1895, in a letter to his friend Oscar Björck, Krøyer wrote "I am also thinking of painting a large portrait of my wife and me together — but for that I shall definitely need good weather, so it won't be this year." In fact it was four years later, in the summer of 1899, that he finally created his large painting. Maybe it was in recognition of 10 years of marriage with Marie Triepcke as illustrated in other works of family life at the time as well as in a number of the photographs and sketches he used as a basis for the work.
| 26
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"genre",
"nocturne"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.
| 27
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"instance of",
"painting"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.Background
The Skagen Painters were a close-knit group of mainly Danish artists who gathered each summer from the late 1870s in the fishing village of Skagen in the far north of Jutland, painting the local fishermen and their own gatherings. P. S. Krøyer arrived there in 1882, quickly becoming the most prominent member of the group.In 1895, in a letter to his friend Oscar Björck, Krøyer wrote "I am also thinking of painting a large portrait of my wife and me together — but for that I shall definitely need good weather, so it won't be this year." In fact it was four years later, in the summer of 1899, that he finally created his large painting. Maybe it was in recognition of 10 years of marriage with Marie Triepcke as illustrated in other works of family life at the time as well as in a number of the photographs and sketches he used as a basis for the work.
| 28
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"location",
"Hirschsprung Collection"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.Background
The Skagen Painters were a close-knit group of mainly Danish artists who gathered each summer from the late 1870s in the fishing village of Skagen in the far north of Jutland, painting the local fishermen and their own gatherings. P. S. Krøyer arrived there in 1882, quickly becoming the most prominent member of the group.In 1895, in a letter to his friend Oscar Björck, Krøyer wrote "I am also thinking of painting a large portrait of my wife and me together — but for that I shall definitely need good weather, so it won't be this year." In fact it was four years later, in the summer of 1899, that he finally created his large painting. Maybe it was in recognition of 10 years of marriage with Marie Triepcke as illustrated in other works of family life at the time as well as in a number of the photographs and sketches he used as a basis for the work.
| 30
|
[
"Summer Evening at Skagen Beach – The Artist and his Wife",
"made from material",
"canvas"
] |
Summer Evening at Skagen Beach – The Artist and his Wife (Danish: Sommeraften ved Skagens strand. Kunstneren og hans hustru) is an 1899 painting by Peder Severin Krøyer. One of the best known paintings of the Skagen Painters, it depicts Krøyer with his wife Marie and his dog Rap strolling on the beach in the moonlight.
| 37
|
[
"Aurora Borealis (painting)",
"exhibition history",
"London"
] |
Exhibition
Completed in New York that winter, Aurora Borealis was exhibited publicly in London in 1865 as a triumvirate with two paintings by Church of Ecuadoran volcanoes: Cotopaxi (his 1862 painting of an eruption) and Chimborazo (his 1864 reprise of the dormant mountain that had been the subject of his 1858 masterwork Heart of the Andes).
| 2
|
[
"Aurora Borealis (painting)",
"depicts",
"ship"
] |
Description and influences
The iconography of the painting suggested personal and nationalistic references. The peak in the painting had been named after Church during Hayes's expedition. Aurora Borealis incorporated details of Hayes' ship, drawn from a sketch he brought back upon returning from his expedition. Contrasted with Church's earlier painting of the north, The Icebergs (1861), the intact ship highlights Hayes' achievement in navigating this space, as well as the state of the nation in navigating the contentious historical moment. Presenting the ship's safe passage through the dark Arctic environment, Church suggested optimism for the future; a tiny light shines out from the ship's window.Charles Millard describes Church's paintings as "large in scale and size, sharply horizontal in format" and "dramatic in subject, but yielding in execution, and tend[ing] to exploit both value contrast and continuous tonal transition." Church's works, including Aurora Borealis, were completed using small touches of pigment built together through thin applications, leaving the viewer unaware of fracture between strokes. These works are also built around the tones of "ochre, brown, gray going to blue or green, and green" at the expense of the full value of color.
| 6
|
[
"Aurora Borealis (painting)",
"depicts",
"Arctic"
] |
Aurora Borealis is an 1865 painting by Frederic Edwin Church of the aurora borealis and the Arctic expedition of Isaac Israel Hayes. The painting measures 142.3 by 212.2 centimetres (56.0 in × 83.5 in) and is now owned by the Smithsonian American Art Museum.
| 8
|
[
"Aurora Borealis (painting)",
"genre",
"landscape art"
] |
Aurora Borealis is an 1865 painting by Frederic Edwin Church of the aurora borealis and the Arctic expedition of Isaac Israel Hayes. The painting measures 142.3 by 212.2 centimetres (56.0 in × 83.5 in) and is now owned by the Smithsonian American Art Museum.
| 13
|
[
"Aurora Borealis (painting)",
"collection",
"Smithsonian American Art Museum"
] |
Aurora Borealis is an 1865 painting by Frederic Edwin Church of the aurora borealis and the Arctic expedition of Isaac Israel Hayes. The painting measures 142.3 by 212.2 centimetres (56.0 in × 83.5 in) and is now owned by the Smithsonian American Art Museum.
| 17
|
[
"Aurora Borealis (painting)",
"depicts",
"Arctic exploration"
] |
Aurora Borealis is an 1865 painting by Frederic Edwin Church of the aurora borealis and the Arctic expedition of Isaac Israel Hayes. The painting measures 142.3 by 212.2 centimetres (56.0 in × 83.5 in) and is now owned by the Smithsonian American Art Museum.
| 22
|
[
"Francesco Filippini",
"instance of",
"human"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 0
|
[
"Francesco Filippini",
"place of death",
"Milan"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 10
|
[
"Francesco Filippini",
"field of work",
"landscape"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.Work
When young, Filippini painted mostly religious or historical subjects, as well as some portraits. In later life he painted mostly landscapes – of the Apennines, of Pegli, of Porto Valtravaglia, of the Val Camonica or of the Valle Seriana – or seascapes in Chioggia, Genova, Naples or Venice. His work shows the influence of the Scapigliatura painter Tranquillo Cremona.Art market
At a Sotheby's Milano auction in 2007, Francesco Filippini's Ai piedi del ghiacciaio (At the foot of the Glacier, 1875), an oil on canvas, was sold for Euro 102,250 plus auction fees.
| 13
|
[
"Francesco Filippini",
"place of birth",
"Brescia"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 16
|
[
"Francesco Filippini",
"field of work",
"landscape art"
] |
Work
When young, Filippini painted mostly religious or historical subjects, as well as some portraits. In later life he painted mostly landscapes – of the Apennines, of Pegli, of Porto Valtravaglia, of the Val Camonica or of the Valle Seriana – or seascapes in Chioggia, Genova, Naples or Venice. His work shows the influence of the Scapigliatura painter Tranquillo Cremona.Art market
At a Sotheby's Milano auction in 2007, Francesco Filippini's Ai piedi del ghiacciaio (At the foot of the Glacier, 1875), an oil on canvas, was sold for Euro 102,250 plus auction fees.
| 20
|
[
"Francesco Filippini",
"genre",
"landscape art"
] |
Work
When young, Filippini painted mostly religious or historical subjects, as well as some portraits. In later life he painted mostly landscapes – of the Apennines, of Pegli, of Porto Valtravaglia, of the Val Camonica or of the Valle Seriana – or seascapes in Chioggia, Genova, Naples or Venice. His work shows the influence of the Scapigliatura painter Tranquillo Cremona.Art market
At a Sotheby's Milano auction in 2007, Francesco Filippini's Ai piedi del ghiacciaio (At the foot of the Glacier, 1875), an oil on canvas, was sold for Euro 102,250 plus auction fees.
| 22
|
[
"Francesco Filippini",
"occupation",
"painter"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.
| 32
|
[
"Francesco Filippini",
"father",
"Lorenzo Filippini"
] |
Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 47
|
[
"Francesco Filippini",
"educated at",
"Scuola civica serale di disegno Pinacoteca Tosio"
] |
Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 49
|
[
"Francesco Filippini",
"exhibition history",
"Pinacoteca di Brera"
] |
Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 51
|
[
"Francesco Filippini",
"has works in the collection",
"Pinacoteca di Brera"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 52
|
[
"Francesco Filippini",
"has works in the collection",
"Galleria d'arte moderna di Milano"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.
| 57
|
[
"Francesco Filippini",
"family name",
"Filippini"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 68
|
[
"Francesco Filippini",
"exhibition history",
"Esposizione generale italiana del 1884"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.
| 83
|
[
"Francesco Filippini",
"has works in the collection",
"Pinacoteca Nazionale di Bologna"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.
| 91
|
[
"Francesco Filippini",
"student of",
"Giuseppe Bertini"
] |
Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 92
|
[
"Francesco Filippini",
"given name",
"Francesco"
] |
Francesco Filippini (18 September 1853 – 6 March 1895) was an Italian painter from Lombardy. He was much influenced by Tranquillo Cremona.Life
Filippini was born in Brescia, in Lombardy in northern Italy, on 18 September 1853, into a poor family. His father Lorenzo was a carpenter, his mother Silvia Signoria a seamstress. He was soon sent to work, first as a waiter in a pastry shop, later as a clerk to a notary public.Filippini attended the school of drawing at the Pinacoteca Tosio; from 1872 he received a grant from the city council to continue these studies. In 1875 he received an allowance to study under Giuseppe Bertini in Milan.: 79 In 1879 another grant allowed him to travel to Paris to visit the Salon.Filippini exhibited at the annual shows of the Accademia di Belle Arti di Brera in Milan from 1879, and from 1880 lived in that city. He made his living by teaching, both in schools and privately. He was made an honorary member of the Accademia di Brera in 1878.He died in Milan on 6 March 1895.
| 94
|
[
"Christopher Columbus Before the Council of Salamanca",
"depicts",
"Christopher Columbus"
] |
History and description
Leutze made this painting shortly after arriving to Düsseldorf, where he came to study at the local arts academy. The work positively impressed their director, Wilhelm von Schadow, who admitted Leutze. The painting was one of a group of six that Leutze executed inspired by Christopher Columbus and the discovery of America. For this scene he took inspiration at the work of the American writer and historian Washington Irving, A History of the Life and Voyages of Christopher Columbus (1828; vol. I, book II, chapter 3). The artist depicts the episode of the reunion of a council of sages, both clergymen and laymen, held in the Convent of San Estebán, in Salamanca, at request of king Ferdinand II of Aragon, to listen the proposal of Columbus of trying to reach Asia by navigating to the West.
Columbus appears at the left, holding and pointing to a large nautical chart, who is at the top of a table covered with a red colored towel, with several large books on top of it. A compass and an hourglass are also seen at the table. Under the table other books are depicted and another nautical chart lies in the ground in front of it. The Genoan navigator seems to be arguing his plan, while several clergymen, including a bishop, who appears thoughtful, listen to him, while also hearing the advice of another member of the clergy. A Dominican monk holds a book, at the right, while other two are seen discussing at the right of the bishop, and another one is seated behind the table, looking to Columbus. At the right side, two layman appear seated and also seem to be listening to Columbus. In the background several people watch the scene or are perhaps discussing his proposal.
| 2
|
[
"Cross of Saint Euphrosyne",
"depicts",
"Jesus"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 0
|
[
"Cross of Saint Euphrosyne",
"exhibition history",
"Smolensk"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 2
|
[
"Cross of Saint Euphrosyne",
"exhibition history",
"Polatsk"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 3
|
[
"Cross of Saint Euphrosyne",
"depicts",
"Virgin Mary"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 4
|
[
"Cross of Saint Euphrosyne",
"exhibition history",
"Moscow"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 10
|
[
"Cross of Saint Euphrosyne",
"depicts",
"John the Baptist"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 17
|
[
"Cross of Saint Euphrosyne",
"depicts",
"Michael"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 22
|
[
"Cross of Saint Euphrosyne",
"instance of",
"cross"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 24
|
[
"Cross of Saint Euphrosyne",
"depicts",
"Gabriel"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 25
|
[
"Cross of Saint Euphrosyne",
"depicts",
"John the Evangelist"
] |
The Cross of Saint Euphrosyne or Cross of Euphrosyne of Polotsk (Belarusian: Крыж Ефрасінні Полацкай) was a revered relic of the Orthodox Church in Belarus, which was made in 1161 by Lazar Bohsha on the order of Saint Euphrosyne of Polotsk and is regarded as a national treasure of Belarus.
Euphrosyne, mother superior of Polotsk Convent, ordered the cross to decorate the new Transfiguration church. The simple cypress cross was decorated with gold, gemstones and enamel, depicting Jesus Christ, John the Baptist, the Theotokos (Mother of God), the Four Evangelists, the archangels Gabriel and Michael, and three patron saints of Euphrosyne and her parents. The work cost 120 grivnas. Inside, the cross contained pieces of the Holy Cross and other relics.
In the 13th century, the cross was relocated to Smolensk and in 1514 to Moscow. It was returned to Polotsk by Ivan the Terrible in 1563. The cross was thoroughly photographed for the record in 1896. In 1928 the nationalized relic was taken to Minsk, then, in 1929, to Mogilev, and was locked in a safe box of the regional Communist Party headquarters.
| 34
|
[
"Persephone (sculpture)",
"country",
"United States of America"
] |
Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.
| 0
|
[
"Persephone (sculpture)",
"country of origin",
"France"
] |
PERSEPHONE
IN ANCIENT GREEK MYTHOLO-
GY, SHE, AS THE DAUGHTER
OF ZEUS AND DEMETER, WAS
WORSHIPPED AS THE GODDESS
OF VEGETATION, RETURNING
EACH SPRING FROM THE REALM
OF HADES TO HERALD THE
SEASON OF GROWTH, AND IN
WINTER DISAPPEARING TO PASS
HER TIME, LIKE THE SEED,
UNDER THE EARTH. THE STATUE
WAS EXECUTED IN PARIS ABOUT
1840 BY ARMAND TOUSSAINT,
1806-1862. A GIFT OF JAMES
IRVING HOLCOMBAcquisition
The sculpture was made in France and was originally located at the Swift estate in Chicago, Illinois. It was purchased by J. I. Holcomb in 1950 and installed at the gardens.Creation
The piece, made in France, was created primarily crafted by sculptor Armand Toussaint and cast by Graux-Marly. Upon its placement at Holcomb Gardens, the landscapers were J.I. Holcomb and Arthur Lindberg.
| 1
|
[
"Persephone (sculpture)",
"depicts",
"woman"
] |
Description
Persephone depicts the Greek goddess Persephone standing on a limestone base in the center of a concrete octagonal pool. The bronze female figure is draped from the waist down. Her left hand is raised and holds a lit torch of bundled twigs. An inscription on the statue base reads on the left statue base:
AD TOUSSAINT
SCULPTEURThe right side of the base is inscribed:PERSEPHONE
IN ANCIENT GREEK MYTHOLO-
GY, SHE, AS THE DAUGHTER
OF ZEUS AND DEMETER, WAS
WORSHIPPED AS THE GODDESS
OF VEGETATION, RETURNING
EACH SPRING FROM THE REALM
OF HADES TO HERALD THE
SEASON OF GROWTH, AND IN
WINTER DISAPPEARING TO PASS
HER TIME, LIKE THE SEED,
UNDER THE EARTH. THE STATUE
WAS EXECUTED IN PARIS ABOUT
1840 BY ARMAND TOUSSAINT,
1806-1862. A GIFT OF JAMES
IRVING HOLCOMB
| 2
|
[
"Persephone (sculpture)",
"exhibition history",
"Chicago"
] |
Acquisition
The sculpture was made in France and was originally located at the Swift estate in Chicago, Illinois. It was purchased by J. I. Holcomb in 1950 and installed at the gardens.
| 3
|
[
"Persephone (sculpture)",
"located in the administrative territorial entity",
"Indiana"
] |
Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.
| 4
|
[
"Persephone (sculpture)",
"made from material",
"limestone"
] |
Description
Persephone depicts the Greek goddess Persephone standing on a limestone base in the center of a concrete octagonal pool. The bronze female figure is draped from the waist down. Her left hand is raised and holds a lit torch of bundled twigs. An inscription on the statue base reads on the left statue base:
AD TOUSSAINT
SCULPTEURThe right side of the base is inscribed:
| 5
|
[
"Persephone (sculpture)",
"made from material",
"bronze"
] |
Description
Persephone depicts the Greek goddess Persephone standing on a limestone base in the center of a concrete octagonal pool. The bronze female figure is draped from the waist down. Her left hand is raised and holds a lit torch of bundled twigs. An inscription on the statue base reads on the left statue base:
AD TOUSSAINT
SCULPTEURThe right side of the base is inscribed:
| 6
|
[
"Persephone (sculpture)",
"creator",
"Armand Toussaint"
] |
PERSEPHONE
IN ANCIENT GREEK MYTHOLO-
GY, SHE, AS THE DAUGHTER
OF ZEUS AND DEMETER, WAS
WORSHIPPED AS THE GODDESS
OF VEGETATION, RETURNING
EACH SPRING FROM THE REALM
OF HADES TO HERALD THE
SEASON OF GROWTH, AND IN
WINTER DISAPPEARING TO PASS
HER TIME, LIKE THE SEED,
UNDER THE EARTH. THE STATUE
WAS EXECUTED IN PARIS ABOUT
1840 BY ARMAND TOUSSAINT,
1806-1862. A GIFT OF JAMES
IRVING HOLCOMBCreation
The piece, made in France, was created primarily crafted by sculptor Armand Toussaint and cast by Graux-Marly. Upon its placement at Holcomb Gardens, the landscapers were J.I. Holcomb and Arthur Lindberg.
| 7
|
[
"Persephone (sculpture)",
"depicts",
"Persephone"
] |
Description
Persephone depicts the Greek goddess Persephone standing on a limestone base in the center of a concrete octagonal pool. The bronze female figure is draped from the waist down. Her left hand is raised and holds a lit torch of bundled twigs. An inscription on the statue base reads on the left statue base:
AD TOUSSAINT
SCULPTEURThe right side of the base is inscribed:PERSEPHONE
IN ANCIENT GREEK MYTHOLO-
GY, SHE, AS THE DAUGHTER
OF ZEUS AND DEMETER, WAS
WORSHIPPED AS THE GODDESS
OF VEGETATION, RETURNING
EACH SPRING FROM THE REALM
OF HADES TO HERALD THE
SEASON OF GROWTH, AND IN
WINTER DISAPPEARING TO PASS
HER TIME, LIKE THE SEED,
UNDER THE EARTH. THE STATUE
WAS EXECUTED IN PARIS ABOUT
1840 BY ARMAND TOUSSAINT,
1806-1862. A GIFT OF JAMES
IRVING HOLCOMBAcquisition
The sculpture was made in France and was originally located at the Swift estate in Chicago, Illinois. It was purchased by J. I. Holcomb in 1950 and installed at the gardens.
| 8
|
[
"Persephone (sculpture)",
"owned by",
"Butler University"
] |
Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.
| 9
|
[
"Persephone (sculpture)",
"location",
"Butler University"
] |
Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.
| 10
|
[
"Persephone (sculpture)",
"exhibition history",
"Butler University"
] |
Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.
| 11
|
[
"Persephone (sculpture)",
"genre",
"public art"
] |
Persephone is an outdoor sculpture by artist Armand Toussaint created c. 1840. The work sits within the center of a pool in Holcomb Gardens on the grounds of Butler University in Indianapolis, Indiana, United States. The sculpture depicts the Greek goddess Persephone. In 1993 the sculpture was examined by the Save Outdoor Sculpture! program produced by the Smithsonian Institution.
| 12
|
[
"Persephone (sculpture)",
"instance of",
"sculpture"
] |
Description
Persephone depicts the Greek goddess Persephone standing on a limestone base in the center of a concrete octagonal pool. The bronze female figure is draped from the waist down. Her left hand is raised and holds a lit torch of bundled twigs. An inscription on the statue base reads on the left statue base:
AD TOUSSAINT
SCULPTEURThe right side of the base is inscribed:PERSEPHONE
IN ANCIENT GREEK MYTHOLO-
GY, SHE, AS THE DAUGHTER
OF ZEUS AND DEMETER, WAS
WORSHIPPED AS THE GODDESS
OF VEGETATION, RETURNING
EACH SPRING FROM THE REALM
OF HADES TO HERALD THE
SEASON OF GROWTH, AND IN
WINTER DISAPPEARING TO PASS
HER TIME, LIKE THE SEED,
UNDER THE EARTH. THE STATUE
WAS EXECUTED IN PARIS ABOUT
1840 BY ARMAND TOUSSAINT,
1806-1862. A GIFT OF JAMES
IRVING HOLCOMB
| 13
|
[
"Port Ruysdael",
"collection",
"Yale Center for British Art"
] |
Port Ruysdael is an 1826 oil on canvas painting by the English painter J. M. W. Turner. It is in the collection of the Yale Center for British Art in New Haven.
Turner painted this as a tribute to Dutch Golden Age painter Jacob van Ruisdael. There is no port by the name of Port Ruysdael. In 1844 he painted another tribute to Ruisdael, named Fishing Boats bringing a Disabled Ship into Port Ruysdael which is at the Tate Gallery in London. The dimensions of the painting are 92 x 122 cm.
| 25
|
[
"Port Ruysdael",
"location",
"Yale Center for British Art"
] |
Port Ruysdael is an 1826 oil on canvas painting by the English painter J. M. W. Turner. It is in the collection of the Yale Center for British Art in New Haven.
Turner painted this as a tribute to Dutch Golden Age painter Jacob van Ruisdael. There is no port by the name of Port Ruysdael. In 1844 he painted another tribute to Ruisdael, named Fishing Boats bringing a Disabled Ship into Port Ruysdael which is at the Tate Gallery in London. The dimensions of the painting are 92 x 122 cm.
| 26
|
[
"Port Ruysdael",
"exhibition history",
"Yale Center for British Art"
] |
Port Ruysdael is an 1826 oil on canvas painting by the English painter J. M. W. Turner. It is in the collection of the Yale Center for British Art in New Haven.
Turner painted this as a tribute to Dutch Golden Age painter Jacob van Ruisdael. There is no port by the name of Port Ruysdael. In 1844 he painted another tribute to Ruisdael, named Fishing Boats bringing a Disabled Ship into Port Ruysdael which is at the Tate Gallery in London. The dimensions of the painting are 92 x 122 cm.
| 27
|
[
"Antinous Mondragone",
"depicts",
"man"
] |
The Antinous Mondragone is a 0.95-metre (3 ft 1 in) high marble example of the Mondragone type of the deified Antinous. This colossal head was made sometime in the period between 130 AD to 138 AD and then is believed to have been rediscovered in the early 18th century, near the ruined Roman city, Tusculum. After its rediscovery, it was housed at the Villa Mondragone as a part of the Borghese collection, and in 1807, it was sold to Napoleon Bonaparte; it is now housed in the Louvre in Paris, France.This acrolithic sculpture was produced during the rule of Emperor Hadrian, who ruled from 117 AD until he died in 138 AD. It is widely accepted that Hadrian had kept Antinous as his lover and that they had a sexual relationship. However, this relationship did not accumulate much documentation, so a great deal of the details are left unknown. As a result of this, there are now many theories surrounding the subject of their relationship as well as the controversial death of Antinous in 130 AD.
This sculpture was produced as one of many pieces of art made within the cult of Antinous, a cult that is accepted to have formed out of the grief Hadrian harnessed over the death of Antinous. Out of the three distinct types of Antinous cult statues, this piece falls under the Mondragone type, which can be identified by the unique hairstyle that works as a reference to the Greek god, Dionysus.Provenance
In 1618–1619, the gallery of Palazzo Mondragone began implementing pedestals for the displayed antiquities, including their colossal busts. These busts were displayed in pairs of male and female figures that often brought disagreement with them in terms of who they were depicting; the male figure that was assumed to be a depiction of Julius Caesar was replaced by the Mondragone figure after its recovery from the earth. It is said to have been found near Tusculum, specifically at Frascati between 1713 and 1729 and was certainly displayed as part of the Borghese collection at their Villa Mondragone there. However, these dates have been argued against on the basis that the Antinous head was recorded as being seen in the gallery decades before in 1687 by Nicodemus Tessin the Younger, a Swedish architect that had visited the villa.In 1807, it was bought with a large part of the Borghese collections for Napoleon; the Antinous head being sold for one of the highest prices out of the entire collection. Sometime after this, a brown layer of wax was added to give an opaque finish, along with plaster around the base of the neck to make the statue look more complete – these were both removed in recent cleaning. It is now held at the Louvre Museum, though it toured to the Henry Moore Institute, Leeds in 2006 for the exhibition "Antinous: The Face of the Antique", and returned to the United Kingdom for the British Museum's exhibition "Hadrian: Empire and Conflict" in 2008.
| 0
|
[
"Antinous Mondragone",
"depicts",
"headgear"
] |
The Antinous Mondragone is a 0.95-metre (3 ft 1 in) high marble example of the Mondragone type of the deified Antinous. This colossal head was made sometime in the period between 130 AD to 138 AD and then is believed to have been rediscovered in the early 18th century, near the ruined Roman city, Tusculum. After its rediscovery, it was housed at the Villa Mondragone as a part of the Borghese collection, and in 1807, it was sold to Napoleon Bonaparte; it is now housed in the Louvre in Paris, France.This acrolithic sculpture was produced during the rule of Emperor Hadrian, who ruled from 117 AD until he died in 138 AD. It is widely accepted that Hadrian had kept Antinous as his lover and that they had a sexual relationship. However, this relationship did not accumulate much documentation, so a great deal of the details are left unknown. As a result of this, there are now many theories surrounding the subject of their relationship as well as the controversial death of Antinous in 130 AD.
This sculpture was produced as one of many pieces of art made within the cult of Antinous, a cult that is accepted to have formed out of the grief Hadrian harnessed over the death of Antinous. Out of the three distinct types of Antinous cult statues, this piece falls under the Mondragone type, which can be identified by the unique hairstyle that works as a reference to the Greek god, Dionysus.
| 3
|
[
"Antinous Mondragone",
"collection",
"Borghese Collection"
] |
The Antinous Mondragone is a 0.95-metre (3 ft 1 in) high marble example of the Mondragone type of the deified Antinous. This colossal head was made sometime in the period between 130 AD to 138 AD and then is believed to have been rediscovered in the early 18th century, near the ruined Roman city, Tusculum. After its rediscovery, it was housed at the Villa Mondragone as a part of the Borghese collection, and in 1807, it was sold to Napoleon Bonaparte; it is now housed in the Louvre in Paris, France.This acrolithic sculpture was produced during the rule of Emperor Hadrian, who ruled from 117 AD until he died in 138 AD. It is widely accepted that Hadrian had kept Antinous as his lover and that they had a sexual relationship. However, this relationship did not accumulate much documentation, so a great deal of the details are left unknown. As a result of this, there are now many theories surrounding the subject of their relationship as well as the controversial death of Antinous in 130 AD.
This sculpture was produced as one of many pieces of art made within the cult of Antinous, a cult that is accepted to have formed out of the grief Hadrian harnessed over the death of Antinous. Out of the three distinct types of Antinous cult statues, this piece falls under the Mondragone type, which can be identified by the unique hairstyle that works as a reference to the Greek god, Dionysus.
| 8
|
[
"Antinous Mondragone",
"instance of",
"sculpture"
] |
The Antinous Mondragone is a 0.95-metre (3 ft 1 in) high marble example of the Mondragone type of the deified Antinous. This colossal head was made sometime in the period between 130 AD to 138 AD and then is believed to have been rediscovered in the early 18th century, near the ruined Roman city, Tusculum. After its rediscovery, it was housed at the Villa Mondragone as a part of the Borghese collection, and in 1807, it was sold to Napoleon Bonaparte; it is now housed in the Louvre in Paris, France.This acrolithic sculpture was produced during the rule of Emperor Hadrian, who ruled from 117 AD until he died in 138 AD. It is widely accepted that Hadrian had kept Antinous as his lover and that they had a sexual relationship. However, this relationship did not accumulate much documentation, so a great deal of the details are left unknown. As a result of this, there are now many theories surrounding the subject of their relationship as well as the controversial death of Antinous in 130 AD.
This sculpture was produced as one of many pieces of art made within the cult of Antinous, a cult that is accepted to have formed out of the grief Hadrian harnessed over the death of Antinous. Out of the three distinct types of Antinous cult statues, this piece falls under the Mondragone type, which can be identified by the unique hairstyle that works as a reference to the Greek god, Dionysus.
| 9
|
[
"Antinous Mondragone",
"exhibition history",
"Henry Moore Foundation"
] |
Provenance
In 1618–1619, the gallery of Palazzo Mondragone began implementing pedestals for the displayed antiquities, including their colossal busts. These busts were displayed in pairs of male and female figures that often brought disagreement with them in terms of who they were depicting; the male figure that was assumed to be a depiction of Julius Caesar was replaced by the Mondragone figure after its recovery from the earth. It is said to have been found near Tusculum, specifically at Frascati between 1713 and 1729 and was certainly displayed as part of the Borghese collection at their Villa Mondragone there. However, these dates have been argued against on the basis that the Antinous head was recorded as being seen in the gallery decades before in 1687 by Nicodemus Tessin the Younger, a Swedish architect that had visited the villa.In 1807, it was bought with a large part of the Borghese collections for Napoleon; the Antinous head being sold for one of the highest prices out of the entire collection. Sometime after this, a brown layer of wax was added to give an opaque finish, along with plaster around the base of the neck to make the statue look more complete – these were both removed in recent cleaning. It is now held at the Louvre Museum, though it toured to the Henry Moore Institute, Leeds in 2006 for the exhibition "Antinous: The Face of the Antique", and returned to the United Kingdom for the British Museum's exhibition "Hadrian: Empire and Conflict" in 2008.
| 13
|
[
"Antinous Mondragone",
"collection",
"Department of Greek, Etruscan, and Roman Antiquities of the Louvre"
] |
The Antinous Mondragone is a 0.95-metre (3 ft 1 in) high marble example of the Mondragone type of the deified Antinous. This colossal head was made sometime in the period between 130 AD to 138 AD and then is believed to have been rediscovered in the early 18th century, near the ruined Roman city, Tusculum. After its rediscovery, it was housed at the Villa Mondragone as a part of the Borghese collection, and in 1807, it was sold to Napoleon Bonaparte; it is now housed in the Louvre in Paris, France.This acrolithic sculpture was produced during the rule of Emperor Hadrian, who ruled from 117 AD until he died in 138 AD. It is widely accepted that Hadrian had kept Antinous as his lover and that they had a sexual relationship. However, this relationship did not accumulate much documentation, so a great deal of the details are left unknown. As a result of this, there are now many theories surrounding the subject of their relationship as well as the controversial death of Antinous in 130 AD.
This sculpture was produced as one of many pieces of art made within the cult of Antinous, a cult that is accepted to have formed out of the grief Hadrian harnessed over the death of Antinous. Out of the three distinct types of Antinous cult statues, this piece falls under the Mondragone type, which can be identified by the unique hairstyle that works as a reference to the Greek god, Dionysus.
| 14
|
[
"Antinous Mondragone",
"instance of",
"Acrolith"
] |
Description
This sculpture can be identified as Antinous from the striated eyebrows, full pouting lips, somber expression, and the head's twist down and to the right (reminiscent of that of the Lemnian Athena), whilst its smooth skin and elaborate, center-parted hair mirror those of Hellenistic images of Dionysus (his Roman equivalent being Bacchus) and Apollo. In reference to Dionysus, the side locks of hair that are seen on either side of this Antinous head can also be found on Dionysus, furthering a connection between the two through hairstyle. The ancient geographer, Pausanias, was the only writer who provided some type of iconographic 'pointers' towards the understanding of Antinous art, and he found that there were similarities in some figures of Antinous, such as the Antinous of Mantineia, and Dionysus.The Mondragone head formed part of a colossal acrolithic cult statue for the worship of Antinous as a god. Acrolithic statues were made using a technique in which artists used a combination of wood and some type of stone to construct their sculptures. In the case of the Antinous Mondragone, marble was the stone of choice. Per the technique, the marble would have only been used where body parts were visible, in places such as the head where the marble would be depicting their flesh. Whereas the wood would have been used to craft the clothed portions of the statue. This technique is said to have been used more often in areas where the cost of fine materials, such as marble, may have been too costly or not readily available.
| 17
|
[
"Fathi Hassan",
"instance of",
"human"
] |
Fathi Hassan (Arabic: فتحي حسن, born 10 May 1957) is an Egyptian-born, Italian-based artist known for his installations involving the written word.Life
Fathi Hassan was born in Cairo in 1957 as the second son to a Nubian family. His father Hassan was Sudanese and his mother Fatma was from the Toshka Lakes region in southern Egypt. He attended the Kerabia school in Cairo, where he met the sculptor Ghaleb Khater.Work
In 1979, Hassan received a grant from the Italian Cultural Institute in Cairo and moved to Naples. He enrolled at the Accademia di Belle Arti in 1980 to study set design. He graduated in 1984 with a dissertation on the influence of African art in Cubism. While he was studying and in the year after graduation, Hassan also worked as an actor and set designer at RAI (Radiotelevisione Italiana works) in Naples and Rome. In 1986, he moved to Pesaro.In 1989 Hassan was the first artist of African heritage to be invited to the "Aperto" section of the 43rd Venice Biennale curated by Dan Cameron and Giovanni Carandente. He has exhibited in numerous galleries in Italy, Belgium, Denmark, Germany, France, Egypt, and United States.Hassan's work often emphasizes power dynamics and the relationship between the oral and written word; drawing from his Nubian heritage, he places particular emphasis on the loss of language under the dominance of colonialism. Most of his scripts are based upon kufic calligraphy, but remain deliberately illegible and impossible to decipher. In his video Blessed Nubia (2002) is an analysis of the original language of Nubia.Hassan has lived and worked in Italy since 1979, dividing his time between Rome, Milan and Fano.
| 0
|
[
"Fathi Hassan",
"place of birth",
"Cairo"
] |
Fathi Hassan (Arabic: فتحي حسن, born 10 May 1957) is an Egyptian-born, Italian-based artist known for his installations involving the written word.Life
Fathi Hassan was born in Cairo in 1957 as the second son to a Nubian family. His father Hassan was Sudanese and his mother Fatma was from the Toshka Lakes region in southern Egypt. He attended the Kerabia school in Cairo, where he met the sculptor Ghaleb Khater.Work
In 1979, Hassan received a grant from the Italian Cultural Institute in Cairo and moved to Naples. He enrolled at the Accademia di Belle Arti in 1980 to study set design. He graduated in 1984 with a dissertation on the influence of African art in Cubism. While he was studying and in the year after graduation, Hassan also worked as an actor and set designer at RAI (Radiotelevisione Italiana works) in Naples and Rome. In 1986, he moved to Pesaro.In 1989 Hassan was the first artist of African heritage to be invited to the "Aperto" section of the 43rd Venice Biennale curated by Dan Cameron and Giovanni Carandente. He has exhibited in numerous galleries in Italy, Belgium, Denmark, Germany, France, Egypt, and United States.Hassan's work often emphasizes power dynamics and the relationship between the oral and written word; drawing from his Nubian heritage, he places particular emphasis on the loss of language under the dominance of colonialism. Most of his scripts are based upon kufic calligraphy, but remain deliberately illegible and impossible to decipher. In his video Blessed Nubia (2002) is an analysis of the original language of Nubia.Hassan has lived and worked in Italy since 1979, dividing his time between Rome, Milan and Fano.
| 1
|
[
"Fathi Hassan",
"country of citizenship",
"Egypt"
] |
Fathi Hassan (Arabic: فتحي حسن, born 10 May 1957) is an Egyptian-born, Italian-based artist known for his installations involving the written word.Life
Fathi Hassan was born in Cairo in 1957 as the second son to a Nubian family. His father Hassan was Sudanese and his mother Fatma was from the Toshka Lakes region in southern Egypt. He attended the Kerabia school in Cairo, where he met the sculptor Ghaleb Khater.Work
In 1979, Hassan received a grant from the Italian Cultural Institute in Cairo and moved to Naples. He enrolled at the Accademia di Belle Arti in 1980 to study set design. He graduated in 1984 with a dissertation on the influence of African art in Cubism. While he was studying and in the year after graduation, Hassan also worked as an actor and set designer at RAI (Radiotelevisione Italiana works) in Naples and Rome. In 1986, he moved to Pesaro.In 1989 Hassan was the first artist of African heritage to be invited to the "Aperto" section of the 43rd Venice Biennale curated by Dan Cameron and Giovanni Carandente. He has exhibited in numerous galleries in Italy, Belgium, Denmark, Germany, France, Egypt, and United States.Hassan's work often emphasizes power dynamics and the relationship between the oral and written word; drawing from his Nubian heritage, he places particular emphasis on the loss of language under the dominance of colonialism. Most of his scripts are based upon kufic calligraphy, but remain deliberately illegible and impossible to decipher. In his video Blessed Nubia (2002) is an analysis of the original language of Nubia.Hassan has lived and worked in Italy since 1979, dividing his time between Rome, Milan and Fano.
| 7
|
[
"Fathi Hassan",
"exhibition history",
"National Museum of African Art"
] |
References
| 31
|
[
"Fathi Hassan",
"exhibition history",
"Metropolitan Museum of Art"
] |
References
| 33
|
[
"Fathi Hassan",
"exhibition history",
"University of Pavia"
] |
References
| 36
|
[
"Fathi Hassan",
"movement",
"African art"
] |
Work
In 1979, Hassan received a grant from the Italian Cultural Institute in Cairo and moved to Naples. He enrolled at the Accademia di Belle Arti in 1980 to study set design. He graduated in 1984 with a dissertation on the influence of African art in Cubism. While he was studying and in the year after graduation, Hassan also worked as an actor and set designer at RAI (Radiotelevisione Italiana works) in Naples and Rome. In 1986, he moved to Pesaro.In 1989 Hassan was the first artist of African heritage to be invited to the "Aperto" section of the 43rd Venice Biennale curated by Dan Cameron and Giovanni Carandente. He has exhibited in numerous galleries in Italy, Belgium, Denmark, Germany, France, Egypt, and United States.Hassan's work often emphasizes power dynamics and the relationship between the oral and written word; drawing from his Nubian heritage, he places particular emphasis on the loss of language under the dominance of colonialism. Most of his scripts are based upon kufic calligraphy, but remain deliberately illegible and impossible to decipher. In his video Blessed Nubia (2002) is an analysis of the original language of Nubia.Hassan has lived and worked in Italy since 1979, dividing his time between Rome, Milan and Fano.
| 38
|
[
"Fathi Hassan",
"genre",
"contemporary African art"
] |
Work
In 1979, Hassan received a grant from the Italian Cultural Institute in Cairo and moved to Naples. He enrolled at the Accademia di Belle Arti in 1980 to study set design. He graduated in 1984 with a dissertation on the influence of African art in Cubism. While he was studying and in the year after graduation, Hassan also worked as an actor and set designer at RAI (Radiotelevisione Italiana works) in Naples and Rome. In 1986, he moved to Pesaro.In 1989 Hassan was the first artist of African heritage to be invited to the "Aperto" section of the 43rd Venice Biennale curated by Dan Cameron and Giovanni Carandente. He has exhibited in numerous galleries in Italy, Belgium, Denmark, Germany, France, Egypt, and United States.Hassan's work often emphasizes power dynamics and the relationship between the oral and written word; drawing from his Nubian heritage, he places particular emphasis on the loss of language under the dominance of colonialism. Most of his scripts are based upon kufic calligraphy, but remain deliberately illegible and impossible to decipher. In his video Blessed Nubia (2002) is an analysis of the original language of Nubia.Hassan has lived and worked in Italy since 1979, dividing his time between Rome, Milan and Fano.
| 40
|
[
"Fathi Hassan",
"exhibition history",
"Istituto Italiano per l'Africa e l'Oriente"
] |
References
| 43
|
[
"Fathi Hassan",
"exhibition history",
"Smithsonian American Art Museum"
] |
References
| 45
|
[
"Fathi Hassan",
"given name",
"Fathi"
] |
Fathi Hassan (Arabic: فتحي حسن, born 10 May 1957) is an Egyptian-born, Italian-based artist known for his installations involving the written word.Life
Fathi Hassan was born in Cairo in 1957 as the second son to a Nubian family. His father Hassan was Sudanese and his mother Fatma was from the Toshka Lakes region in southern Egypt. He attended the Kerabia school in Cairo, where he met the sculptor Ghaleb Khater.
| 47
|
[
"Fathi Hassan",
"exhibition history",
"Museum of African Art"
] |
References
| 50
|
[
"Fathi Hassan",
"exhibition history",
"Padiglione d'Arte Contemporanea"
] |
References
| 54
|
[
"Fathi Hassan",
"educated at",
"Accademia di Belle Arti di Napoli"
] |
Work
In 1979, Hassan received a grant from the Italian Cultural Institute in Cairo and moved to Naples. He enrolled at the Accademia di Belle Arti in 1980 to study set design. He graduated in 1984 with a dissertation on the influence of African art in Cubism. While he was studying and in the year after graduation, Hassan also worked as an actor and set designer at RAI (Radiotelevisione Italiana works) in Naples and Rome. In 1986, he moved to Pesaro.In 1989 Hassan was the first artist of African heritage to be invited to the "Aperto" section of the 43rd Venice Biennale curated by Dan Cameron and Giovanni Carandente. He has exhibited in numerous galleries in Italy, Belgium, Denmark, Germany, France, Egypt, and United States.Hassan's work often emphasizes power dynamics and the relationship between the oral and written word; drawing from his Nubian heritage, he places particular emphasis on the loss of language under the dominance of colonialism. Most of his scripts are based upon kufic calligraphy, but remain deliberately illegible and impossible to decipher. In his video Blessed Nubia (2002) is an analysis of the original language of Nubia.Hassan has lived and worked in Italy since 1979, dividing his time between Rome, Milan and Fano.
| 55
|
[
"Fathi Hassan",
"exhibition history",
"African biennials"
] |
References
| 57
|
[
"Fathi Hassan",
"exhibition history",
"Civic Gallery of Modern and Contemporary Art"
] |
References
| 58
|
[
"Fathi Hassan",
"family name",
"Hassan"
] |
Fathi Hassan (Arabic: فتحي حسن, born 10 May 1957) is an Egyptian-born, Italian-based artist known for his installations involving the written word.Life
Fathi Hassan was born in Cairo in 1957 as the second son to a Nubian family. His father Hassan was Sudanese and his mother Fatma was from the Toshka Lakes region in southern Egypt. He attended the Kerabia school in Cairo, where he met the sculptor Ghaleb Khater.Work
In 1979, Hassan received a grant from the Italian Cultural Institute in Cairo and moved to Naples. He enrolled at the Accademia di Belle Arti in 1980 to study set design. He graduated in 1984 with a dissertation on the influence of African art in Cubism. While he was studying and in the year after graduation, Hassan also worked as an actor and set designer at RAI (Radiotelevisione Italiana works) in Naples and Rome. In 1986, he moved to Pesaro.In 1989 Hassan was the first artist of African heritage to be invited to the "Aperto" section of the 43rd Venice Biennale curated by Dan Cameron and Giovanni Carandente. He has exhibited in numerous galleries in Italy, Belgium, Denmark, Germany, France, Egypt, and United States.Hassan's work often emphasizes power dynamics and the relationship between the oral and written word; drawing from his Nubian heritage, he places particular emphasis on the loss of language under the dominance of colonialism. Most of his scripts are based upon kufic calligraphy, but remain deliberately illegible and impossible to decipher. In his video Blessed Nubia (2002) is an analysis of the original language of Nubia.Hassan has lived and worked in Italy since 1979, dividing his time between Rome, Milan and Fano.
| 59
|
[
"Fathi Hassan",
"exhibition history",
"Clark Atlanta University"
] |
References
| 61
|
[
"Fathi Hassan",
"exhibition history",
"Beirut Art Center"
] |
References
| 62
|
[
"Fathi Hassan",
"exhibition history",
"Williams College Museum of Art"
] |
References
| 66
|
[
"Fathi Hassan",
"exhibition history",
"London Art Fair"
] |
References
| 67
|
[
"Fathi Hassan",
"exhibition history",
"Ravenna Art Museum"
] |
References
| 68
|
[
"Fathi Hassan",
"exhibition history",
"Abu Dhabi Art"
] |
References
| 70
|
[
"Fathi Hassan",
"exhibition history",
"Alexandria Museum of Fine Arts"
] |
References
| 73
|
[
"Vultee BT-13 Valiant",
"exhibition history",
"Yogyakarta"
] |
41-23063 – BT-13A airworthy with John Kempton in Albury, New South Wales.Brazil1072 – BT-15 on static display at the Museu Aeroespacial in Rio de Janeiro, Rio de Janeiro.
42-1216 – BT-13A in storage at Museu TAM in São Carlos, São Paulo.Canada42-89379 – BT-13A airworthy in Edenvale, Ontario.Indonesia
B-427 – BT-13A on display at Ngurah Rai International Airport in Denpasar, Bali.
B-604 – BT-13A on display at Suryadarma Air Force Base in Kalijati, Subang Regency, West Java.
B-605 – BT-13A on display at Gembira Loka Zoo in Yogyakarta.
B-608 – BT-13A on display at Jurug Solo Zoo in Surakarta, Central Java.
B-610 – BT-13A on display at Gedung Juang 45 Subang in Subang Regency, West Java.
B-616 – BT-13A on display at Indonesian Air Force Academy in Yogyakarta.
B-620 – BT-13A on display at Sempor Dam in Kebumen Regency, Cemtral Java.
B-622 – BT-13A on display at Mangkang Zoo in Semarang, Central Java. It was stripped of all markings and painted blue.
B-633 – BT-13A on display at Dirgantara Mandala Museum in Yogyakarta.Netherlands
42-43210 – BT-13A airworthy at the Early Birds Museum on Lelystad Airport in the Netherlands.United States
| 0
|
[
"Vultee BT-13 Valiant",
"manufacturer",
"Vultee"
] |
The Vultee BT-13 Valiant is an American World War II-era basic (a category between primary and advanced) trainer aircraft built by Vultee Aircraft for the United States Army Air Corps, and later US Army Air Forces. A subsequent variant of the BT-13 in USAAC/USAAF service was known as the BT-15 Valiant, while an identical version for the US Navy was known as the SNV and was used to train naval aviators for the US Navy and its sister services, the US Marine Corps and US Coast Guard.
| 1
|
[
"Vultee BT-13 Valiant",
"exhibition history",
"Ngurah Rai International Airport"
] |
41-23063 – BT-13A airworthy with John Kempton in Albury, New South Wales.Brazil1072 – BT-15 on static display at the Museu Aeroespacial in Rio de Janeiro, Rio de Janeiro.
42-1216 – BT-13A in storage at Museu TAM in São Carlos, São Paulo.Canada42-89379 – BT-13A airworthy in Edenvale, Ontario.Indonesia
B-427 – BT-13A on display at Ngurah Rai International Airport in Denpasar, Bali.
B-604 – BT-13A on display at Suryadarma Air Force Base in Kalijati, Subang Regency, West Java.
B-605 – BT-13A on display at Gembira Loka Zoo in Yogyakarta.
B-608 – BT-13A on display at Jurug Solo Zoo in Surakarta, Central Java.
B-610 – BT-13A on display at Gedung Juang 45 Subang in Subang Regency, West Java.
B-616 – BT-13A on display at Indonesian Air Force Academy in Yogyakarta.
B-620 – BT-13A on display at Sempor Dam in Kebumen Regency, Cemtral Java.
B-622 – BT-13A on display at Mangkang Zoo in Semarang, Central Java. It was stripped of all markings and painted blue.
B-633 – BT-13A on display at Dirgantara Mandala Museum in Yogyakarta.Netherlands
42-43210 – BT-13A airworthy at the Early Birds Museum on Lelystad Airport in the Netherlands.United States
| 3
|
[
"Vultee BT-13 Valiant",
"exhibition history",
"Estrella Warbird Museum"
] |
3022 – SNV-1 on static display at Main Campus of the Kalamazoo Air Zoo in Kalamazoo, Michigan.
156739 – SNV-1 airworthy at the Estrella Warbirds Museum in Paso Robles, California.
41-10418 – BT-13A on static display at the Combat Air Museum in Topeka, Kansas.
41-10571 – BT-13A on static display at the Quik Stop Mini-Mart in Caruthers, California. It is mounted nose-first on top of a gas station island awning.
41-10814 – BT-13A airworthy with Vultee Resource & Management in Yukon, Oklahoma.
41-11355 – BT-13A on static display at the National Naval Aviation Museum in Pensacola, Florida. It is painted as an SNV-1.
41-11538 – BT-13A airworthy with the Commemorative Air Force Minnesota Wing in South St. Paul, Minnesota.
41-11584 – BT-13A on static display at the Combat Air Museum in Topeka, Kansas.
41-21178 - BT-13A airworthy with the Commemorative Air Force in Houston, Texas.
41-21218 – BT-13A under repair to airworthy condition with Valiant Effort in Livermore, California.
41-21487 – BT-13A on static display at the March Field Air Museum in Riverside, California. It is painted as 41–22365.
41-21933 – BT-13A on static display at the Travis Air Force Base Heritage Center at Travis Air Force Base in Fairfield, California.
41-22124 – BT-13A in storage at the Paul E. Garber Preservation, Restoration, and Storage Facility of the National Air and Space Museum in Suitland, Maryland.
41-22204 – BT-13A on static display at the South Dakota Air and Space Museum in Box Elder, South Dakota.
41-22386 – BT-13A on static display at the Moffett Field Historical Society Museum in Mountain View, California.
41-22441 – BT-13A airworthy at the Mid-Atlantic Air Museum in Reading, Pennsylvania.
41-23075 – BT-13A airworthy on loan from Rene J. Vercruyssen to the Chico Air Museum in Chico, California.
42-04130 – BT-13A on static display at Goodfellow Air Force Base in San Angelo, Texas.
42-41303 – BT-15 on static display at the Gunter Annex of Maxwell Air Force Base in Montgomery, Alabama.
42-42353 – BT-13A on static display at the Pima Air Museum in Tucson, Arizona.
42-88675 – BT-13A airworthy at the National Wasp WWII Museum in Sweetwater, Texas.
42-88708 – BT-13 on display at the Naval Air Station Wildwood Aviation Museum in Rio Grande, New Jersey.
42-88855 – BT-13A airworthy with Barry D. Burns in Hubbard, Oregon.
42-89607 – BT-13B airworthy at the Yanks Air Museum in Chino, California.
42-89678 – BT-13A on static display at the Castle Air Museum in Atwater, California.
42-90018 – BT-13B on static display at the Museum of Aviation at Robins Air Force Base in Warner Robins, Georgia.
42-90026 – BT-13B airworthy with the Alaska Wing of the Commemorative Air Force in Anchorage, Alaska.
42-90296 – BT-13B airworthy at the War Eagles Air Museum in Santa Teresa, New Mexico.
42-90590 – BT-13B airworthy with Ryan Shively of Richland, Washington. It was delivered to the USAAF in May 1944 and served with the 54th Fighter Squadron, 2nd Air Commando Group, 4501st Base Unit, and 338th Base Unit.
42-90629 – BT-13B on static display at the National Museum of the United States Air Force in Dayton, Ohio.
42-90054 – BT-13B airworthy with the Planes of Fame Air Museum in Chino, California.
c/n 7832 – BT-13A on static display at the Evergreen Aviation & Space Museum in McMinnville, Oregon.
c/n 8408 – BT-13 on static display at the Fort Worth Aviation Museum in Fort Worth, Texas.
Unknown ID – Unknown variant in storage in unrestored condition at the Planes of Fame Air Museum in Chino, California.
Unknown ID – BT-13 under restoration at the Fargo Air Museum in Fargo, North Dakota.
| 12
|
[
"Vultee BT-13 Valiant",
"instance of",
"aircraft family"
] |
The Vultee BT-13 Valiant is an American World War II-era basic (a category between primary and advanced) trainer aircraft built by Vultee Aircraft for the United States Army Air Corps, and later US Army Air Forces. A subsequent variant of the BT-13 in USAAC/USAAF service was known as the BT-15 Valiant, while an identical version for the US Navy was known as the SNV and was used to train naval aviators for the US Navy and its sister services, the US Marine Corps and US Coast Guard.
| 16
|
[
"Vultee BT-13 Valiant",
"subclass of",
"military trainer"
] |
The Vultee BT-13 Valiant is an American World War II-era basic (a category between primary and advanced) trainer aircraft built by Vultee Aircraft for the United States Army Air Corps, and later US Army Air Forces. A subsequent variant of the BT-13 in USAAC/USAAF service was known as the BT-15 Valiant, while an identical version for the US Navy was known as the SNV and was used to train naval aviators for the US Navy and its sister services, the US Marine Corps and US Coast Guard.
| 22
|
[
"Douglas DC-2",
"country of origin",
"United States of America"
] |
The Douglas DC-2 is a 14-passenger, twin-engined airliner that was produced by the American company Douglas Aircraft Company starting in 1934. It competed with the Boeing 247. In 1935, Douglas produced a larger version called the DC-3, which became one of the most successful aircraft in history.Design and development
In the early 1930s, fears about the safety of wooden aircraft structures drove the US aviation industry to develop all-metal airliners. United Airlines had exclusive right to the all metal twin-engine Boeing 247; rival TWA issued a specification for an all-metal trimotor.
The Douglas response was more radical. When it flew on July 1, 1933, the prototype DC-1 had a robust tapered wing, retractable landing gear, and two 690 hp (515 kW) Wright radial engines driving variable-pitch propellers. It seated 12 passengers.
Douglas test pilot Carl Cover flew the first test flight on May 11, 1934, of the DC-2 which was longer than the DC-1, had more powerful engines, and carried 14 passengers in a 66-inch-wide cabin. TWA was the launch customer for the DC-2 ordering twenty. The design impressed American and European airlines and further orders followed. Although Fokker had purchased a production licence from Douglas for $100,000 (about $2,224,000 in 2022) no manufacturing was done in The Netherlands. Those for European customers KLM, LOT, Swissair, CLS and LAPE purchased via Fokker in the Netherlands were built and flown by Douglas in the US, sea-shipped to Europe with wings and propellers detached, then erected at airfields by Fokker near the seaport of arrival (e.g. Cherbourg or Rotterdam). Airspeed Ltd. took a similar licence for DC-2s to be delivered in Britain and assigned the company designation Airspeed AS.23, but although a registration for one aircraft was reserved none were built. Another licence was taken by the Nakajima Aircraft Company in Japan; unlike Fokker and Airspeed, Nakajima built five aircraft as well as assembling at least one Douglas-built aircraft. A total of 130 civil DC-2s were built with another 62 for the United States military. In 1935 Don Douglas stated in an article that the DC-2 cost about $80,000 (about$1,780,000 in 2022) per aircraft if mass-produced.
| 2
|
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