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Sash | Choctaw, Native American | 1790 | Wool cloth, glass beads, and cordage

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I found a purpose in this art work because I am a fan of fashion and this piece reminds me of a belt that you can wear. When looking at this I think about the different ways it can be worn or styled. I chose this because I like the colors and the shell like material that was added to the piece to make it different than the others.

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Sash | Choctaw, Native American | The Metropolitan Museum of Art

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Said to have been collected between 1782 and 1798 by Thomas Hurd (1757-1823) a hydrographer in the British Navy who worked in Newfoundland. Purchased 8/30/1997 David Cook Fine Art, Denver, Colorado; Charles and Valerie Diker Collection until 2018

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Vishnu Riding on Garuda | Nepal | 1004 | Gilt copper repoussé

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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I chose this piece for a religious reason because of the history and purpose of this piece. The feathers above the wings are to represent his many wife's. This also shows god Vishnu in flight astride his half-bird, half-human mount, Garuda. I chose this because I like gold and physical statues and I found the purpose of this art very interesting to me.

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Pal, Pratapaditya. The Arts of Nepal: Sculpture. vol. 1, Leiden: E. J. Brill, 1974, p. 33, fig. 30.

Schroeder, Ulrich von. Indo-Tibetan Bronzes. Hong Kong: Vishual Dharma Publications, 1981, pp. 322-23, fig. 83D.

Bangdel, Lain S., and Vorwort von Krishna Deva. Nepal, Zweitausendfünfhundert Jahre Nepalesische Kunst. Munich: Paul List, 1987, fig. 175.

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Vishnu Riding on Garuda | Nepal | The Metropolitan Museum of Art

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Pal, Pratapaditya. The Arts of Nepal: Sculpture. vol. 1, Leiden: E. J. Brill, 1974, p. 33, fig. 30. Schroeder, Ulrich von. Indo-Tibetan Bronzes. Hong Kong: Vishual Dharma Publications, 1981, pp. 322-23, fig. 83D. Bangdel, Lain S., and Vorwort von Krishna Deva. Nepal, Zweitausendfünfhundert Jahre Nepalesische Kunst. Munich: Paul List, 1987, fig.

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William Morris | Pink and Rose | 1890 | Block-printed in distemper colors

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I had a strong connection with this right when it caught my eye. Flowers are the most beautiful things ever and have to be my favorite thing. I love the attention to detail this portrays. I love the colors and this amount of different foliage and variety of flowers presented. This has to be my favorite piece.

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William Morris | Pink and Rose | The Metropolitan Museum of Art

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Art for beauty's sake. I picked this image because every time I look at la Virgin de Guadalupe it reminds me of my mom, I also have a picture of la Virgen de Guadalupe in my room I feel safe because both Jesus and his mother are in my presence and thoughts. Artist unknown date 12 December 1531 (on the Julian calendar, which would be December 22 on the Gregorian calendar now in use).

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Art for beauty's sake. I picked this image because every time I look at la Virgin de Guadalupe it reminds me of my mom, I also have a picture of la Virgen de Guadalupe in my room I feel safe because both Jesus and his mother are in my presence and thoughts. Artist unknown date 12 December 1531 (on the Julian calendar, which would be December 22 on the Gregorian calendar now in use).

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I picked this one because it made the most since to me, a lot of people have different opinions and expressions unknown date. Art for the sake of expression. This picture is where I’m currently incarcerated. I picked when is comes to those who are incarcerated. I complete 4 years of being incarcerated this January, I came in when I was 14. When I look at art from different artists my first expression often feels like I’m stuck in time in one of those historical portraits, those portraits where I often say I find peace or feel relaxed is when I remember of a memory because all I really have in here are memories. The reality is I’m just a portrait where people come in to look at and have little to say and move on to the next. Unknown photographer

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I picked this one because it made the most since to me, a lot of people have different opinions and expressions unknown date. Art for the sake of expression. This picture is where I’m currently incarcerated. I picked when is comes to those who are incarcerated. I complete 4 years of being incarcerated this January, I came in when I was 14. When I look at art from different artists my first expression often feels like I’m stuck in time in one of those historical portraits, those portraits where I often say I find peace or feel relaxed is when I remember of a memory because all I really have in here are memories. The reality is I’m just a portrait where people come in to look at and have little to say and move on to the next. Unknown photographer

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Art for personal taste. I love trucks it brings me satisfaction and makes me feel excited every time I get behind the wheel. I picked a truck because my dad always had one and till this day he has one and anywhere we go is always a great adventure and experience, I just fell in love with the sound and looks of trucks and the smell of burnt rubber, Year created unknow artist unknow.

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Art for personal taste. I love trucks it brings me satisfaction and makes me feel excited every time I get behind the wheel. I picked a truck because my dad always had one and till this day he has one and anywhere we go is always a great adventure and experience, I just fell in love with the sound and looks of trucks and the smell of burnt rubber, Year created unknow artist unknow.

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This piece of artwork is called “hope” was created by Susanna Bauer in 2019. The material is magnolia leaf and cotton thread.

1. This piece makes me think of nature. There is a balance between fragility and strength. It reflects a contemplation of discovered beauty and complexity. The withered leaves are not conspicuous to our eyes, but the artist used them to give them a new meaning and expand them by weaving. The vein or texture of leaves seems to express the relationship network and social circle in our society. The artist attempts to express the themes of the value of time, the preciousness of objects, and the tension in human connections through fragile leaves and handmade lace crochet. 2. I chose it because I was attracted by the intricate and delicate patterns, and I think this artist has excellent weaving skills in this art. I can relate to the fragility of life by looking at the brittle leaf. In addition, by looking at the texture of the leaves, I think about my social circle and my meaning in this complex society.

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Source:  the Metropolitan Museum of Art  

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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This piece of artwork is called “Bodhisattva Guanyin” was created 17th century (late Ming-early Qing dynasty). The artist is unknown. The medium is porcelain with ivory glaze.

1. When I see this artwork, I think it is beautiful because of the texture of the skirt. Guanyin is a Chinese form of the bodhisattva Avalokiteshvara and one of the most admired Buddhist deities. Guanyin is enlightened and compassionate, and she has the power to assist others’ spiritual goals and purdue all beings. Guanyin conveys the belief that people should have kind hearts, be grateful for what they have, and keep their dedication. When encountering difficulty or disaster, we help all people by not considering race, gender, the origin of the country, and beauty and ugliness; all people regard each other the same. 2. I chose it because its ivory glaze color shows Guanyin's pure heart. In Indian cultures, most of the figures of the bodhisattva are males. The gender of the Bodhisattva was controversial, but in Buddhism, deities are genderless. Feminine symbolizes peace, benevolence, tenderness, and kindness, so artists started to create the concept of female Bodhisattva. I can relate to this artwork because I practice Guanyin's belief through my family's influence. My mom believes in Guanyin's spirits and takes us to the Guanyin temple to pray for health and goodness. My personal value ​​is also related to Guanyin's belief: be kind to others and be powerful when encountering difficulties.

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Source:  the Metropolitan Museum of Art  

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This piece of artwork is called “Bouquet of Sunflowers” was created by Claude Monet in 1881. The medium is oil on canvas.

1.This piece was created by the artist's interest. Since Monet’s first wife was dead of disease, the theme of most of his paintings shifted to flowers and nature. I think this piece is so beautiful because it is vivid and still life. Even though the tablecloth is red, it does not seem awkward, but it protrudes the white porcelain vase. The artist used light and shadow to create a sense of space. 2. I chose this artwork because sunflower is my favorite flower. When I look at it, I can feel peace of mind, mildness, and warmth because of its combination of colors. It also gives me a feeling of vigor and energy because the sunflowers are in bloom, and the green leaves add brilliance.

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Pier table 1810–15J oseph B. Barry and Son. Wood. 

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I chose this artwork because of the decorative detail.

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1.	Artist's name: Mao Wu 2.Title of artwork: Waterfall Landscape 3.Material/Medium: Oil in Canvas

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-       I chose this artwork because I have always believed that nature is beautiful. That being said, this painting is in the category of art for beauty’s sake. Everything about nature can relate to any one of us as we are living in a world full of greeneries. This particular artwork makes me calm because of the blue water, peace as the trees because it calms my body, and happiness because of the freedom they have in life. I will choose every painting, drawing, or picture about nature because it gives me the same feeling. This one stands out to me because of the unique details that the artist made for this painting.

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Title: The Crucifixion with the Virgin and Saint John Artist: Hendrick ter Brugghen (Dutch, The Hague? 1588–1629 Utrecht) Date: ca. 1624–25Medium: Oil on canvas

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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-       This artwork aims at people who believe in Jesus, which is Christian. I am Christian itself and a believer. It is beautiful because The Virgin Mary and John the Evangelist flanking the cross provide a proxy for the viewer's painful spectacle of the crucifixion. I chose this specific artwork because it was my first time seeing this painting.

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Artist:Joan Mitchell Title:City Landscape Date:1955 Medium: Oil on linen

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- In all paintings around the world, I always like this kind of art because it gives me a lot of emotions. I chose this painting because it is like my head goes crazy every day, but there’s a light that will guide and help me to stand on my own. I chose this painting because of its uniqueness this artwork has.

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The Art I choose is to personal taste. This is a famous singer from Punjab (the King of the Punjabi music industry). The artist who creates this art is Artist Bodeck Luna Hernandez, Sanroop Kaur. The title of the artwork is Legends. It was created in June 2022. Material is used I think it’s spray paints like Graffiti. The Purpose This artwork is this singer was one of the singers in the Punjabi industry who was taking Punjabi music on the next level. No one knew our Punjabi music. When Sidhu started his singing career. He did very well even drake start following Sidhu. Sidhu got killed same as to-pac. Sidhu died in May. The whole Punjabi industry was sad. The people who don't know him even were sad when they heard the news that he got killed in the shooting. I choose this because people don't like others to see them succeed.

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This life-size bronze sculpture was created by country singer-songwriter and visual artist Terry Allen in 1990, cast using the lost-wax method. The purpose of this artwork I think sometimes when you do a hard work and you dont get any results then you just give up and just dont want to do anything. this is what I believe that this artwork is representing. it do has a connection with us. Because we all are humans and somewhere we all get stuck.

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“Coyote” was created by sculptor Bryan Tedrick, and first exhibited in Nevada’s Black Rock Desert for Burning Man 2013. The “Coyote” sculpture was forged from steel and designed in such a way that the head can spin a full 360 degrees in a mild breeze. It’s also fully climbable, in keeping with the Burners’ spirit of adventure. I dont think it tell us any story. but I believe when anyone is hungry we all look for food and when we can't find it we get so upset and start yelling at someone in the house. its a same thing with animals too. They also get upset when they can't find something to eat and that was the reason I choose this art.

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Artist: Dante Gabriel Rosetti, Title: La Ghirlandata, Medium: Oil on canvas

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I chose this artwork because of the figure in the painting, which I assume to be Ghirlandata. The woman is very ethereal looking, with hands that are posed in a way that makes them seem floaty and ghost-like. It highlights her feminine beauty. The art was meant as a dedication to the women who supported Rosetti throughout his artistic endeavors. I chose this painting against all others because of this. I am very appreciative of the ethereal, almost angelic quality of the woman in the painting, but I did not personally relate to it. However, this category of art reminded me of the Aestheticism movement, which was a movement that disregarded strict morals and Victorian perception of what art was, focusing more on the actual beauty of the artwork.

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Artist: Aubrey Beardsley, Title: The Peacock Skirt, Medium: Ink on paper

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Art for the sake of expression is the same thing as art for the sake of art-- or just to create. I chose this artwork because of its utilization of only line and shape. It lacks color, which I do not usually find visually stimulating, but the form of this sketch was really eye-catching to me. Something about how Beardsley utilizes sharp and floaty lines in this sketch is very pleasing to the eye. I chose this art because of these reasons. It is commonplace to think of art as just a vessel for meaning and that through thorough analysis meaning can be gleaned from anything, which it can, but from the artist's perspective, it could just be them trying to evoke a certain feeling from the viewer. This art evokes a feeling of intimidation and intrigue in me, but I do not seem to find any special meaning in it. It is just two womanly figures-- one seemingly trying to intimidate the other.

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Artist: Franz Marc, Title: The Large Blue Horses, Medium: oil on canvas

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I do not believe this art has an exact purpose outside of self-expression and painting what he desired. What caught my eye about this painting was the way that the horses are colored and painted. The form of the horses is very vague and they are also completely monochrome. They are only painted with the color blue, which is an interesting choice to make to paint the horse, which drew me to it. I wondered why Marc decided to paint the horses blue, and what could he be expressing because of that. I chose it among the others because of all the colors in it. The sky is everything except blue, while the horses are blue rather than brown. That was extremely interesting to me, as it is an inverse of what is normally expected.

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Artist : Thomas Cole "The Titan's Goblet" 1833, Medium: Oil on canvas

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I went with this artwork because of its uniqueness and satisfying vibe that it gives off, Just something about the whole scenery which makes it look like something out of a syfy fictional movie. This work echoes the artist's other works of the period in its Italian derived scenery and its attempt to illustrate themes dealing with the grandeur of the past, the passage of time, and the encroachment of nature. After doing a little more research on this piece Some people have described the painting as a work that defies explanation. Painted in the Romanticist style, it is an oil on canvas work. Unlike some of Cole's other landscape paintings, it is smaller in that it measures 49 x 41 cm. The scene Cole captures in the picture was his idea, rather than being a commission. Over the years the painting has had several owners. In 1904, Samuel Putnam Avery gifted the painter to the Metropolitan Museum of Art in New York. Since then it’s been a part of the Museum’s collection.

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Crucifix 1150–1200 Medium: White oak with paint, gold leaf, and tin leaf (corpus); softwood with paint and tin leaf (cross)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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What drew my attention to this art piece was originally due to to my own religious beliefs and how much it means to me on a personal level. In my opinion i believe this was meant to be seen from both front and back, this large Crucifix represents Jesus hanging on the Cross, but nonetheless triumphant over death: his eyes are wide open, and he wears the gold crown of the King of Heaven. Though the original church from which this image comes is not known, figures of the living Christ on the Cross are found often in Romanesque Spain. A remarkable amount of the twelfth-century paint on the figure is preserved.

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Worthington Whitteredge "The Trout Pool" 1870 Medium: Oil on canvas

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I went with this art piece because of the love i have for nature itself, i found the scenery to be captivating with artist capturing the moment perfectly in my eyes. After doing further research, this is likely a view in the Hudson Valley, this work reveals the influence of artist Asher B. Durand, whose forest interiors (15.30.59 and 95.13.1) inspired Whittredge’s vertical composition. However, unlike Durand, Whittredge adopted dramatic lighting effects, juxtaposing shadowy foreground trees with a brightly illuminated middle ground to emphasize nature’s expressive qualities.

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I chose this piece because of the tranquillity it gives me when I look at it. This painting is focused on landscape and naturalism, and that is evidently seen. To me it tells a story of exploring in an unknown place and running into an amazing discovery. While discovering, realizing that the world has so much beauty that at times it is not seen.

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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I chose this piece because of the meaning it has to me personally. I grew up in a strong catholic family, attending mass every Sunday. Our lady of Guadalupe has always been a stable to our religion and at my home. She is displayed in various rooms around my home, as it is belief that she watches over us and guides us daily. When looking at this piece it just allows me to feel at ease, when I see her I feel a sense of home.

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I chose this piece because of the detailing and colorfulness that it has. I am a person to tends to gravite towards bright and color as it makes me feel happy. This painting is far away from bland, personally it makes me feel joyful.

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Oscar Wilde and the Aesthetic Movement Teapot  1882 

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The artist of this piece is James Hadley English, 1837–1903 and it made by the Royal Worcester Porcelain Company Worcester, England, reorganized in 1862. This piece is called TEAPOT, created in 1882. The medium of the above work is Glazed and enameled Parian ware and its size are 15.9 × 16.5 × 7.6 cm (6 1/4 × 6 1/2 × 3 in.) The purpose of this work of art is to mock the ideals of a particular aesthetic, also known as erasure in the media role. It also implies that humans are the origin of apes. I chose this work over the others because when I saw it I was amazed at the unique combination of the work including the young man and woman on the teapot along with the variety of eye-catching colors.

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Adoration of the Magi from Seven Scenes from the Life of Christca. 1390

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Art for the sake of expression (philosophical, political, or spiritual/religious) 

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Art for the sake of expression (philosophical, political, or spiritual/religious) 

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This artwork has a rather lengthy title, "Adoration of the Magi from the Seven Scenes of the Life of Christ". I couldn't find an artist in this piece, it was made in 1390 and made in Lower Austria, Austria. This product has medium pot metal and colorless glass, glass paint, and silver stain with Dimensions 27 5/16 x 12 15/16in. (69.4 x 32.8cm). The purpose of this work of art is to refer to the larger ensembles of the private chapel in the castle Ebreichsdorf, south of Vienna. Although there were originally eighteen scenes, some scenes spanned the two lights of the window. With the exception of one panel in Vienna, The Cloisters consoles all exist. I chose this work of art because when I entered it, I felt elegant elegance with many vibrant colors combined to create a rich background. It makes the viewer see a lot of details and feel the vibrancy in it.

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[Fontainebleau Forest], Eugène Cuvelier, early 1860's

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[Fontainebleau Forest], Eugène Cuvelier, early 1860's

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the purpose of this art is to show how simple i am to please my chaotic mind. that a mere fog on a forest can calm the storm in my brain. the reason why this piece is beautiful in my eyes is the fact that its can either display a deathly zone of void or a sense of calm and to step back and listen around you. in no way does this image show connection but rather the calm stillness we need in our lives to be able to function as a whole. there really isnt a story here but rather its telling you to stand still and listen to the stories that are happening around you and forget about your stories.

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the gulf stream 1899 reworked by 1906 by winslow homer

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the gulf stream 1899 reworked by 1906 by winslow homer

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the purpose of this image is to show that a man who has little to nothing yet is fighting a vicious sea and predator fish. I think its beautiful in the fact that this piece tells a story of struggle and perseverance. when you look you see a man who struggling and is doing everything he can to be able to get what he desires yet the surroundings are are causing him a lot of struggles but he makes do with each issue. it tells us that no matter the struggle or hardship your going through you can do it with the materials around you.

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Wheat Field with Cypresses, (1889).Vincent van Gogh, (Oil on canvas).

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What is the purpose or aim of this artwork?
This work is beautiful for my children because it is a landscape of a wheat field and some mountains and it is the best representation of the warm summer of September. this work brings emotions such as tranquility and a very relaxing place waiting to be explored those are the emotions that this work causes me.

Why did you choose it among all others? How do you relate to this artwork?
I chose this work because it seemed very beautiful and perfect to demonstrate the beauty of the landscape (and art). And because I like the signature in which you look, that is, in the attraction that it causes or the sensation of tranquility and that beautiful landscape that makes you want to be in that place, that is why I chose it before the others.

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Study for "A Sunday on La Grande Jatte"1884

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This work was created by the artist Georges Seurat (French, Paris 1859–1891 Paris) in 1884, the title of the work is called Study for "A Sunday on La Grande Jatte". The medium used is oil on canvas with a size of 27 3/4 x 41 in. The purpose of this work is Seurat's final study of the Parisians in their leisure time on the island. I chose this work because of the contrast from the interwoven pigments in the image with small splashes of color next to each other, which makes the viewer feel more eye-catching.

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Wrenn and six mtg double master 2022 by Donato Giancola

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Wrenn and six mtg double master 2022 by Donato Giancola

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this image shows the power of both human and nature can be as one simple being but yet when fused they can cause so much damage. its beautiful in the fact that is nature and humans are always at a battle and this shows what happens if both human power and nature power worked together and made a monster. the emotions you feel is weirded out or you feel as if this is what nature has intended for us to be like. it connects us by using nature and humans to fuse as one as saying don't work against each other but rather work together and see what we can become. to those who see carnage don't see the struggle. and for those who see it as normal have seen what both sides are capable of.

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Ying Yang (1971), Marion A. Epting. (color aquatint, etching and inkless relief).

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What is the purpose or aim of this artwork?
I chose this work because it is a representation of a philosophical, religious and spiritual exposition and I found it beautiful for its meaning of this work that is composed of a black and white color.
The meaning of this work is that it explains the existence of two opposite but complementary forces that are essential in the universe: the yin, associated with the feminine, darkness, passivity, and the earth; and the yang, linked to the masculine, the light, the active and the sky.

Why did you choose it among all others? How do you relate to this artwork?
I chose this work because I have always looked at it in many places and more so in Japanese culture and it seemed very striking to me, just as I wanted to investigate more about it and its meaning, which is something that would attract everyone's attention.

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Shalekhet fallen leaves (2001). faces made of iron

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What is the purpose or aim of this artwork?
this work is located in a museum in Berlin Germany, this work is made with 10,000 iron faces with expressions of pain and agony. The objective of this work is that each footstep emits a sound that could shock anyone, all these faces are the people who lived during the Holocaust, in a few words they are the people who lost their lives in this tragic event.

Why did you choose it among all others? How do you relate to this artwork?
I chose this work because it is one of the ones that I know the most and the one that I find most interesting and that I want to share with all of you, because it is a work that represents any person who has suffered the consequences of a war.

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Buli Master, possibly Ngongo ya Chintu (Hemba, ca. 1810-1870), Royal Seat (Lupona): Female Caryatid, 19 Century, Wood, metal studs

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The primary function of the stool was not to serve as a seat, but rather as a receptacle for the chief's spirit. Stools are such powerful emblems of a chief's power and identity that they were often kept secretly in a village different from their possessions to reduce the risk of theft or desecration. I do not find any connection or emotion to this piece, but I feel that it is beautiful and I like the idea of why it was created. I chose this piece because I love what it represents. Spiritual and traditional beliefs. I am a fan of spiritual beings and I enjoy learning about others' ideas of spirituality.

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Artist Unknown/Not Listed, Seated Buddha, 15th century, Bronze

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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"Thus, an exploration of the works on view yields both an appreciation of the art of Asia's many diverse cultures and an understanding of the ties between these traditions" (themetmuseum.org). I chose this piece because If I am going to study and live by a particular religion, it would be Buddhism.  I relate to the belief system this traditional piece holds. “Buddhists believe that human life is one of suffering and that meditation, spiritual and physical labor and good behavior are the ways to achieve enlightenment or nirvana.” (Nationalgeographic.org)

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Du Paquier Porcelain Manufactory (Manufacturer), Gaming Set, 1730–1740, Hard-paste porcelain, polychrome enamels, gilt mounts, and diamonds

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The box may have been presented as a diplomatic gift, perhaps from the Austrian Habsburgs to their Russian Romanov counterparts. I am not finding an emotion or thought that it relates to myself. No story or purpose to serve other than a gift. I enjoy this art piece as my choice for personal taste because it's beautiful and I love this type of art the whole porcelain with gold and flowers that art crafted on the boxes are just amazing. It's very feminine. These types of things remind me of my mother because she has little boxes like this.

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“Woman at Her Toilette” by Berthe Morisot in 1875/80. Made of oil-based paint

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The mixture of colors and the elegance of the woman in the painting makes the art piece beautiful in my eyes. The painting feeds my curiosity and makes me wonder what the woman sees through the mirror. What does she think of when looking at her own reflection? I chose the painting among others because the woman reminds me of myself. Sometimes I take a long time to look at myself in the mirror. This isn’t out of vanity, but out of personal reflection. I think about my progress, flaws, the phase of my life, and my mistakes.

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“After the Hurricane, Bahamas” by Winslow Homer in 1899; Made of watercolors

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The beautiful man laying alongside the beach lured my attention among other paintings. The painting signifies the emotions and current mood I’m experiencing. Lately, I’ve been going through rapid ups and downs while also coping with unresolved emotions that are resurfacing. Sometimes, I don’t have the energy to interact with others or move my body. When I’m alone, I only want to lie down, press my head on a soft surface, and breathe. I interpret the man as myself after an overwhelming storm.

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“Water Lilies” by Claude Monet in 1906; Made of oil painting 

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The use of cool colors with a hint of warm colors makes this painting beautiful in my eyes. The painting calms my nerves and brings me peace of mind. I chose the painting because it reminds me of a funny joke I heard in one of my favorite movies. In Clueless, the main character, Cher, described a girl she hated as “nice from afar, but a mess up close”. I always laugh at that joke, but never understood the deeper meaning behind Monet’s paintings. Sometimes people are perfectly beautiful from a distance, however, when you get closer, they’re flawed and imperfect. Personally, I am a Monet painting.

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Jesus Mocked by the SoldiersDate:1865Artist:Édouard ManetFrench, 1832–1883ESUS MOCKING  Oil on canvas

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2. Art for the sake of spirituality, why did you choose it among all? Because you can see the emotion on their face I chose it because of the pain on his (Jesus) face and you see how mad and serious the soilders are.
What about it reminds you of spirituality? Because it reminds me of the persecution of Jesus.

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Title: Shoulder bag   Date: ca. 1780Geography: Possibly made in Minnesota, United States; Possibly made in Ontario, Canada; Possibly made in Wisconsin, United

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Medium: Tanned leather, porcupine quills, dye, metal cones, deer hair, vegetal fiber, and wool yarn
3. Art for personal taste? I chose a shoulder bag
4. Why did you choose it among all others? How does it reflect your personal taste?
I like this shoulder bag because it looks like it can carry a lot in it it just my type of a bag.

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Artist's name: Richard S Johnson Title of artwork: Aurora Year it was created: 1953 Material/Medium: Oil Painting 

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This oil painting's stunning color harmony and realism are what set it apart from other works of art. It tells the tale of a girl who is patiently waiting for something to occur. anything to take place.

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Artist's name: Alexey Rychov Title of artwork: Unknown Year it was created: 1968   Material/Medium: Oil Painting

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Everything blends well together and the color scheme is gorgeous. I was drawn to this painting since this is the place I would most like to spend the remainder of my life.

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Artist's name: Victor Nizovtsev Title of artwork: Mermaid Year it was created: 1965 Material/Medium: Oil Painting

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This artwork is quirky and lovely. The scales' gold accents. Additionally, the colors go beautifully together. And it tells me a story. I questioned whether becoming a mermaid was as fantastical as I had imagined.

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"Bahram Gur Sees a Herd of Deer Mesmerized by Dilaram' s Music", Folio from a Khamsa (Quintet) of Amir Khusrau Dihlavi

1597–98

Author Amir Khusrau Dihlavi Indian
Attributed to Miskin

Main support: ink, opaque watercolor, and gold on paper, Margins: gold on dyed paper

I like this piece for beauty because I feel like it is peaceful. The woodlands are undamaged, full of green, and the animals are all healthy looking. Today in our woodlands it is mostly brown and dead.

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Ferdinand Hodler Swiss

The Dream of the Shepherd (Der Traum des Hirten)

1896

Medium: Oil on canvas

I choose this painting for expression because I feel the girl is torn between what she has to do and what she wants to do. She has a job to so and people are expecting and relying on her to do that job. Yet she really wants to live the wealthy life, where women jus get to enjoy their time. The girls in the back seem happy, and full of life. Where the shepherd girl is probably exhausted and stressed with life’s pressures.

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Gustave Le Gray French[Oak Tree and Rocks, Forest of Fontainebleau]1849

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Medium: Salted paper print from paper negative

I chose this piece for personal taste because I enjoy art that is gray scale. I really like when the shadowing and shading brig the art to life. I feel that most people want art that is uplifting and happy, where I like to see the world for what it is. Sometimes its dark, scary, and sad.  This piece brings sadness because its sad to see what the world use to look like full of life and greenery.

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“The Sleeping Beauty” by Sir Edward Burne-Jones, 1871-1873.

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For beauty’s sake I chose this painting of the sleeping beauty because it got my attention on how there’s three more women sleeping as well and it makes me wonder about the movie of the Sleeping Beauty because in the movies it always shows one sleeping beauty and never shows other women. A connection that I have with the artwork is that it reminds me of when me and my friends have sleepovers and we enjoy doing make up.

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Sword maker C. Liger, 1785–86. Medium: Steel, silver, gold, wood, fish skin, textile

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Congressional Presentation Sword with Scabbard of Colonel Marinus Willett (1740–1830)

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Congressional Presentation Sword with Scabbard of Colonel Marinus Willett (1740–1830)

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This sword is a representation of bravery and valor and was awarded to officers who were against the British during the American revolution. I believe it also adds emphasis on freedom as it is presented unsheathed and as we know "freedom" is what America stands for.

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1887–88, Georges Seurat, Medium: Oil on canvas

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This is an oil painting done by Georges Seurat. The painting portrays a circus. It is trying to capture the various bizarre attributes of the circus by showing us the different types of people up on the stage. It also seems as if it was also dimly lit.
The shapes of the people help capture that "wacky" or "unique" attributes that you would only see at circuses.

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Gunsmith Peter Peck. Medium: Steel, gold, wood (cherry), staghorn.  1540–45

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Double-Barreled Wheellock Pistol Made for Emperor Charles V

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Double-Barreled Wheellock Pistol Made for Emperor Charles V

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This double-barreled wheellock pistol is a very interesting piece to me considering the evolution of guns in general. This pistol is made from cherry wood versus the guns today that are made from metal or plastic.
On the other hand it has artistic value because of the patterns that we see on the  gun, this gives it that antique feeling.

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“The Navity” by Fra Bartolomeo, 1472-1517

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The reason I picked this painting was because it reminds me of the story of Jesus in the Bible and how there’s angels around him. I personally don’t have any connections with this artwork, but I can find a connection with the Bible because this painting seems like the two people have a belief in something which the Bible has a lot of stories that make us have beliefs and make us have faith.

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“Mother and Child” by Pablo Picasso, 1921.

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This painting got to my attention because it shows a mother with her child having a connection or a moment together. This painting relates to me because I just had a baby a month ago and as a first time mom we have to get to know our child and we have to learn how to work with them, as well as the mom looks tired in this painting in which also relates to me because as a mother we go through a lot of changes and taking care of a baby is not that easy.

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Art for Sake of Expression
1. Nicholas Poussin
2. Blind Orion searching for the rising sun
3. 1658
4. Oil on Canvas
I believe this artwork's main thing or reason why it was created was to display the old culture theme of old natural landscapes with the most realistic background and themes with it. I read that Nicholas Poussin was great in artwork of landscapes so that's why I believe this artwork was in the section of expression. I also choose this artwork because my grandpa was an artist and he was really into drawings or art in this theme, so it reminded me of him.

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Art for Beauty's Sake
1. John Singleton Copley
2. Mrs. John Winthrop
3. 1773
4. Oil on Canvas
The purpose of this artwork was to create a portrait of picture painting of Mrs. Winthrop. From the reading of this artwork there was no clear answer why, but it should be obvious if there is no clear reason than it was just a portrait of her. I choose this because for the example of this theme It displays Beauty and though I may not feel personally connected or anything I'd say I like this because it represents self-love in a way to me.

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Artwork for Personal Taste
1. Hawai'i
2. Figure
3. 9th-11th century
4. Stone- Sculpture
I believe this artwork of a figure is important because it's a part of Hawaiian history and a part of a valuable artifact that was believed to be made by Polynesian settlers on Necker Island. Hawaiian history is known to be rare so having actual evidence of this is very important. I also decided to choose this because as being from Hawaii I find this very cool and interesting stone sculpture of a tiki related stone.

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The Starry Night, Vincent van Gogh (1889) Oil-on-Canvas

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The emotion that I feel when I view this piece of art is why I chose it. I feel relaxed and in awe when I see this painting. I think that the sky that van Goh painted is beautiful. Van Gogh's Starry Night is one of my favorite art pieces. I chose this over other paintings because I really like the colors that the artist chose for it.  I like the pattern of lines that is seen across the painting to create the illusion of starts and the sky.

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The Last Supper, Leonardo da Vinci (1495-1498) Tempera

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This painting was painted as a mural during the Renaissance. It illustrates one of Christ’s last day on earth. It holds strong meaning to Christians around the world. I chose this painting because I like the detail that the artist used when painting the scene.

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The Marriage of Reason and Squalor, II, Frank Stella (1959) Paint on canvas

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This piece of art is from the minimalism art movement. The goal of the minimalism art movement was to show that art was just what was seen on the canvas. There was no other meaning to the paintings. I chose this image because I really like what I learned about this art movement. I appreciate this art that is minimalistic and does not require a lot of thinking. I also think that it takes away the opportunity for people to misinterpret art.

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Title: Young Girl Bathing, Artist: Auguste Renoir, Year: 1892, Medium: Oil on canvas.
I chose this painting because I believe that the human body is beautiful, no matter what gender or race the individual is displaying in the painting. Also, I chose this painting from others because who realistic the painting looks, from the shades of the color on the painting and the details that is present in the painting that is so hard for many people to picture.

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This art piece was created by Iration, Common Kings, and Katastro in Charleston SC created in 2018 “Anything is Possible Too”

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I decided to pick this art piece because it symbolizes that their is so much that is possible and that their is no limit to what you want to achieve in life. The purpose of this art work was to show everything that you want to achieve in life is possible.

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By Artincontext in March 30,2022 in paintings 

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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I believe that an art piece that can represent my religious thoughts. For me I believe in god and believe that anything is possible as long as you have faith. This artist try to show in this painting that Jesus Christ is known as an iconic person in history.

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artist name - El Greco
Title-View of Toledo
Year created-1599-1600
Medium-Oil on canvas
What makes this painting beautiful is how it shows the small town with nice green hills on a cloudy day. I feel like it expresses a dark mood because of the dark sky .I chose it because lately its been feeling like the weather in the picture it's been cloudy and cold

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Created by Julie Kluh Made April 07, 2020 Painting

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This artist tried to show that their is still a place in the world that you can go and forget about all of the thoughts that might be going inside your head. I really like this art piece because I have gone through so much in my life including losing family members and the ocean has been a place where I can forget about my thoughts while I’m their.

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i picked this artwork because It caught my eye because i am Latino and we all know about the virgin mary when we go to church i see it ll the time it basically represents our religion. i also really like the colors used for this painting it makes it pop out more   and it gives up a happy mod

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Title: Bronze chariot inlaid with ivory
Date: 2nd quarter of the 6th century B.C.
Medium: Bronze, ivory
Artist-N/A
i saw this in the museum of metropolitan and what caught my eye was this wagon wheel it made me remember of back in the days when my grandpa would watch movies, he liked watching the old ones of spartans and all that and i would see this wagon a lot , what made me chose this is how nice it and the color gives it that old look.

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Winslow Homer, "Dressing for the Carnival," 1877, Oil on Canvas

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This is the art piece I chose that I believe conveys beauty. "Dressing for the Carnival" depicts an African American family during the reconstruction era in the US after the Civil War. They are doing a Christmas celebration that blends European and African cultures which I thought was pretty interesting. But what attracted me to it and made me think about its beauty of it was the family aspect. I think there's beauty in a family being together, whether it be helping make a costume or just being around each other for the holidays. Especially after the Civil War and after slavery, it gives me a warm feeling to see the family free to celebrate what they want for the first time in generations. I chose it among all others because besides the beauty I found in the family orientation, I also found the vibrant colors beautiful, especially in the way that contrasts against the somewhat gloomy background.

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View of Delphi with a Procession

1.) This painting is beautiful to me because the landscape is very pretty. I enjoy all of the greenery, the clouds and the buildings. I also like the showcasing of community. All of the people look very present, it’s nice seeing community without any technology. The collectivism is nice as well.
2.) I chose this picture among others because I really enjoy nature. I also assumed the people in the center are a family. They look like they were comfortable at this time, they look healthy and like they don’t need for anything. One day I want to have a family and I want us to be able to me comfortable and not need for anything.

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sculpture made of gilt copper alloy with color, inlaid with semiprecious stones. 14th century by Louis V. Bell Fund 

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Tara, the Buddhist Survivor

1.) I don’t practice buddhism but I enjoy doing yoga which has led to me exploring a bit about buddhism and hinduism. From what i’ve learned Tara was empathetic and a protector. Tara is an important figure for those who maybe practice hinduism or buddhism. To me it’s beautiful without any knowledge or knowing the significance it speaks for itself. It’s a very elegant piece and the detailing is very beautiful.

2.) I chose this piece over others because I thought it was very pretty and it also looked familiar with the little knowledge I have on Tara. I relate to the piece because  compassion and kindness are qualities I view as important.

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Oil painting on Canvas. 1943 by Charles Sheeler

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The Artists Looks at Nature

1.) The piece is beautiful to me because of the landscape. Also how the man is painting something different then what he’s observing. It’s like he’s gaining inspiration or motivation  from a completely different source which is a useful skill.

2.) I chose this piece among others because I thought it was very pretty but I was also trying to figure out if the things in the center of the painting were stairs. The painting also made me want to see more, I wanted to know what was cut off if that makes sense.

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Giovanni Di Paolo, "The Head of Saint John the Baptist Brought before Herod," 1455-1460, Tempera on Panel

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This is the art piece I chose for sake of expression(religion). The purpose of "The Head of Saint John the Baptist Brought before Herod" was to show the specific consequences there were when preaching the word of God in Catholicism at a time when it was not accepted. Saint John the Baptist was killed by Herod after his daughter ordered his beheading. The way I see it, the main aim of this artwork was to portray the negative aspects Catholicism had on its followers in the beginning and just try to show the religion as a whole overall. The way I saw it in relation to the assignment was expressing Catholicism back then would get you killed while in the day and age of the painting, it was allowed to paint the painting, even if it showed other religions in a negative light because Catholicism was now the main religion. I chose this art piece among all others because the usual Catholic art pieces depict Jesus on the cross and things along those lines, so I thought this was something a bit different since it still depicted someone dying for the religion, but someone who isn't as well known. I can relate to this artwork because I am Catholic.

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Artist’s name: Claude Monet

Title of artwork: Water Lilies

Year it was created: 1906

Material/Medium: Oil on Canvas

The water lily pond and its reflection of the sky and trees are what, in my opinion, make this scene lovely. I feel comfortable and at ease when I look at the pond's blue-green water, green leaves, and pink water lilies since the pond is still and motionless. I chose this picture because it reminds me of a period when I was younger and would walk with my parents beside a pond with water lilies.

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Artist’s name: Francisco de Zurbarán

Title of artwork: The Crucifixion

Year it was created: 1627

Material/Medium: Oil on canvas

This artwork makes me think of the movies that would play at certain times on the Hispanic channels and the artwork I used to see in my Catholic church when I was a child. In order to counteract the effects of the Protestant Reformation, the Roman Catholic Church is depicted in this artwork as having defined and reiterated its theology and practices. People who adhere to the Christian and Catholic religions and who think that Christ was crucified as a result can relate to this image. The austere figure, emerging from a gloomy background, has been idealized in its peaceful, graceful elegance and elegant representation as well as humanized by the distinctive face and compelling reality. I chose this picture because I frequently visited the homes of family and friends who had this wall sculpture.

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Artist’s name: Thomas Cole

Title of artwork: Distant View of Niagara Falls

Year it was created: 1830

Material/Medium: Oil on panel

Because of the brilliant colors and the fact that fall is my favorite season, I think this artwork is stunning. Because of the beauty in nature and the tranquility it gives me when I look at the artwork, natural landscapes have always been my favorite subject matter for paintings and photographs. In this piece of art, two Native Americans are depicted in the foreground looking out over Niagara Falls and the colorful autumn leaves in green, yellow, and red. A pinkish blue sky, with mountains in the distance. This piece of art caught my attention because of the colors, the time of year it was painted, and the Niagara Falls.

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1946.396 - Distant View of Niagara Falls

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Balthasar Permoser, "Marsyas," 1680-85, Marble on a black marble socle inlaid with light marble panels

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I have always been drawn to statues and one thing I always noticed was the lack of emotion in the face. But "Marsyas" is different because a lot is going on in terms of facial expression. The purpose of this art piece is to make us think of what could possibly be making the sculpture react this way and it makes us theorize. Could they be grieving, fighting, or being hit by a horse? The possibilities are endless. While I can't exactly relate to this artwork, I chose it because of the emotion it conveyed. As I mentioned earlier, many sculptures from back in the day should have little to no facial expression and this one only having emotion, it drew me to it right away.

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"The Parthenon" by Frederic Edwin Church, 1871, oil on canvas

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This is a painting of the ruins of the Roman ruins called The Pantheon. I thought it was extremely impressive, because its representation of the pantheon felt very life-like, like I was there. It also felt to me like it embodies a hopeful, maybe even slightly somber undertone. The Pantheon seems to be a figurative "city upon a hill," as the ruins are lifted above everything else, illuminated by the sun. However, even thought it still stands, battered yet brave, there is shadowy undertone that highlights the rest of the ruins. I like its warm tones, and I also like the subject of looking back upon the ruins of a great civilization. An excellent rendition of the Pantheon. I chose this because to me it was a very beautiful and aesthetic painting, but I also like how it seems to reflect upon the ruins.

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Frederic Edwin Church | The Parthenon | American | The Metropolitan Museum of Art

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Frederic Edwin Church

View of Cotopaxi

1857

Oil on canvas

The purpose of this artwork is to study and capture the beauty of this tropical landscape. The artist obviously had a lot of love and determination guiding him because this is one of the most complicated oil paintings I have ever seen. You can almost count each leaf and blade of grass and you can see each and every ripple in the water. When searching through the other artworks I thought it was an old-looking picture at first because of the insane detail. I don’t think the artwork itself expresses emotion, however, it certainly gets the viewer to look at it in awe. I think it connects us because nature is something that connects the whole Earth to each other. Before humans, there was just nature, and it is one of the most beautiful things on the planet that we are lucky enough to find anywhere if we walk far enough. This scene is one of the larger scale examples of how beautiful Earth can truly be. It doesn’t tell a precise story as we know with a beginning, middle, and end, but it seems to be telling the viewer to remember to take time to appreciate the beauty around us.

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Fra Bartolommeo
The Nativity
1504/07
Oil on panel

The aim of this artwork was a recreation of the infamous nativity story from the bible; also known as the birth of Jesus. The artist had become a friar in his life, so religion was an important part of his life that he chose to portray through his skill in art. I thought it was beautiful the way he used the intensity of the colour to show depth and create a focal point. The woman in blue, the man in red, and the baby all have very rich, deep colours and the baby has very pale skin while the ground underneath him is a dark brown, almost seeming to make him glow. The angels in the background also have colourful clothing, but theirs are paler. It not only gives the viewer an inkling of where they are in the sense of space, but also makes them seem more otherworldly. Finally, the city and mountains in the background are extremely light compared to the rest of the figures, making it seem far in the distance and giving nice detail while also not taking away from the main characters of his work. I chose this amongst all others because I don’t usually see artists from this era working with depth in this manner and it was really interesting to me. I relate to this artwork because growing up in church they always did a recreation of the nativity every year around Christmas. With the holidays coming up, it brought back memories.

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Augustus Saint-Gaudens

Victory

1892–1903; this cast, 1914 or after (by 1916)

Bronze, gilt

I am a huge fan of anything remotely related to mythology, and this statue seems to be a nod to the goddess of victory ‘Nike’. Amongst all other deities people would pray to during war, sports, battle, etc., they would also pray to Nike so she could hopefully guide them to victory in their efforts. What makes this especially beautiful in my eyes is the detail the artist put to make this as realistic as possible. You can see the breeze flowing through her robes and hair, each wing is detailed with feathers, and the outline of sandals on her feet is prominent. In a word, she’s glorious. Everyone strives to be victorious in anything they do, and I think that is how this artwork connects us. The statue does not tell a story more than it does represent them. Any folktale, faerie tale, or story in general that includes victory over an adversary is represented by the name and history behind this statue. I chose this among all the other works because, when I saw it, it reminded me of the images of Nike that were included in my ancient mythology books when I was younger. It already held meaning to me, and to see others still create in honor of her made me really happy.

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1. Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn

2. Princesse de Broglie

3.  1851

4. oil on canvas

the thing that makes me think about beauty from this art work is the way she dress up in a way that is act racking my eye. I choose this piece of art work because it standed out from the others and can tell a past in history.

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"The Death of Socrates" by Jacques Louis David, 1787, oil on canvas

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This is a painting of the death of philosopher Socrates, as he is being put to death for corruption of the youth. The painting has powerful imagery. Multiple disciples, pleading and sobbing with Socrates, a slumped defeated Plato, and a firm Socrates with a finger pointing to the heavens about to grasp a cup of poison. However, Socrates doesn't runaway after hearing his sentence. Instead, he uses it to further his teaches: that death is not to fear, further emphasized with his finger. In a way of passively resisting authority, he dies standing firm on the ground of his principles. I chose this because I thought the event was interesting, as I'm taking a philosophy class and Socrates was the founder of Western philosopher. But, I also find the message of "memento mori" and resisting injustice powerful and important.

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L. N. [Alexandre Lenoir]. L'ombre de Rubens au sallon, ou l'école des peintres, dialogue critique. 1787, pp. 37, 41 [Collection Deloynes, vol. 15, no. 371, pp. 97, 101; McWilliam 1991, no. 0451], finds the background too prominent; notes that the sharpness and murderous effect ["effet meurtrier"] suggest a colored sculpture, not the sweet harmony of a painting.

Observations critiques sur les tableaux du sallon de l'année 1787. Paris, 1787, pp. 15-17 [Collection Deloynes, vol. 15, no. 373, pp. 157-59; McWilliam 1991, no. 0439], offers unstinting praise especially of the figure and expression of Socrates, mentioning the admiration of the crowd.

[Jean-Baptiste Pujoulx]. Les grandes prophéties du Grand Nostradamus sur le grand salon de peinture de l'an de grâce 1787. 1787, pp. 17-19 [Collection Deloynes, vol. 15, no. 374, pp. 193-95; McWilliam 1991, no. 0427], admires the four principal figures but finds the painting less harmonious than others of David.

L[ouis]. B[onnefoy]. de B[ouyon]. Lanlaire au salon académique de peinture. 1787, p. 24 [Collection Deloynes, vol. 15, no. 375, p. 244; McWilliam 1991, no. 0450], draws attention to the clarity of the composition.

Tarare au sallon de peinture. 1787, pp. 19-20 [Collection Deloynes, vol. 15, no. 376, pp. 275-76; McWilliam 1991, no. 0444], as worthy of Raphael, a modern masterpiece.

[Louis François Henri Lefébure]. Encore un coup de patte, pour le dernier, ou dialogue sur le salon de 1787, première partie. 1787, pp. 23-26 [Collection Deloynes, vol. 15, no. 378, pp. 319-22; McWilliam 1991, no. 0426], finds great faults (such as the colossal scale of the meditating philosopher) balanced by sublime beauties.

Jean-Baptiste Claude R[obin]. L'ami des artistes au sallon. Paris, 1787, pp. 36-38 [Collection Deloynes, vol. 15, no. 379, pp. 374-76; McWilliam 1991, no. 0419], stresses the individuality of the figures; publishes Duchofal's poem in homage to David.

Lettre d'un amateur de Paris à un amateur de province sur le sallon de peinture de l'année 1787. Paris, 1787, pp. 11-13 [Collection Deloynes, vol. 15, no. 381, pp. 411-13; McWilliam 1991, no. 0435], admires the drawing, expressions, and color, but finds that the figures should be better united with the background.

Critès. La plume du coq de Micille, ou aventures de Critès au sallon. 1787, p. 38 n. 2 [Collection Deloynes, vol. 15, no. 382, p. 462 n. 2; McWilliam 1991, no. 0440], as one of David's most ordinary paintings.

La bourgeoise au sallon. 1787, pp. 16-17 [Collection Deloynes, vol. 15, no. 384, pp. 524-25; McWilliam 1991, no. 0422], states that it shows David deploying all the resources of his genius.

Merlin au salon en 1787. 1787, pp. 15-20 [Collection Deloynes, vol. 15, no. 385, pp. 547-52; McWilliam 1991, no. 0438], finds the poses overstudied and the finish excessive, the effect not sufficiently generalized.

Mr. A. B. C. D. . . . Ah! Ah! ou relation véritable . . . de la conversation . . . au sallon du Louvre, en examinant les tableaux qui y sont exposés. 1787, p. 13 [Collection Deloynes, vol. 15, no. 386, p. 585; McWilliam 1991, no. 0420].

Inscriptions pour mettre au bas de différens tableaux exposés au sallon du Louvre en 1787. 1787, p. 11 [Collection Deloynes, vol. 15, no. 387, p. 603; McWilliam 1991, no. 0428].

[Jacques Antoine Dulaure]. Critique des quinze critiques du salon, ou notices faites pour donner une idée de ces brochures. 1787, pp. 7, 10-13 [Collection Deloynes, vol. 15, no. 390, pp. 683, 686-89; McWilliam 1991, no. 0424], finds the criticisms of "Merlin" excessive.

[Charles Albert Demoustier]. Le bouquet du sallon. [1787], p. 5 [Collection Deloynes, vol. 15, no. 388, p. 613; McWilliam 1991, no. 0421].

[Louis Abel Beffroy de Reigny]. Le cousin Jacques hors du sallon; folie sans conséquence à l'occasion des tableaux exposés au Louvre en 1787. 1787, pp. 45-47 [Collection Deloynes, vol. 15, no. 389, pp. 661-63; McWilliam 1991, no. 0423].

[Observations du journal de Paris sur l'exposition des tableaux du Louvre en 1787]. [1787] [Collection Deloynes, vol. 15, no. 394, pp. 765-66; McWilliam 1991, no. 0430] , questions the use of a slate-colored background.

[Observations contenues dans les Petites affiches de Paris]. [1787] [Collection Deloynes, vol. 15, no. 395, p. 807; McWilliam 1991, no. 0419A], mentions the enthusiastic reception of the picture.

[Observations tirées du Mercure de France]. [1787] [Collection Deloynes, vol. 15, no. 396, pp. 836-38, transcribed from edition of September 22, 1787, p. 177; McWilliam 1991, no. 0437], notes that the head of Socrates follows an antique bust.

[Observations contenues dans l'Année littéraire]. [1787] [Collection Deloynes, vol. 15, no. 397, pp. 863-65], as the finest history painting of the Salon; mentions the calm of Socrates versus the affliction of his followers.

"Exposition des tableaux au salon du Louvre en 1787." Journal général de France ([1787]) [Collection Deloynes, vol. 15, no. 402, pp. 957-61; McWilliam 1991, no. 0434], believes the artist was particularly concerned with the legibility of the figures.

"Exposition des peintures, sculptures et gravures." Journal encyclopédique ([1787]) [Collection Deloynes, vol. 50, no. 1360, pp. 393-94; McWilliam 1991, no. 0433], singles out the contributions of Vien and David.

M. C***. Examen des critiques qui ont été publiées sur l'exposition des tableaux au Salon du Louvre en 1787. 1787, pp. 22-24 [Collection Deloynes, vol. 15, no. 400, pp. 926-28; McWilliam 1991, no. 0445], praises Peyron but favors David.

Thomas Jefferson. Letter to John Trumbull. August 30, 1787, comments that "the best thing is the Death of Socrates by David, and a superb one it is".

Count Stanislas Kostka Potocki. Lettre d'un étranger sur le sallon de 1787. [1787] [see Revue Universelle des Arts 16 (1862), pp. 377-79, and Zoltowska 1974, pp. 34, 36-38], calls Socrates god-like, and observes that Peyron's painting of the subject is much inferior.

[John Boydell]. "Observations on the State of the Arts in Paris." The World (October 2, 1787), p. 2 [reprinted in Bordes 1992], as the greatest work of art since the Sistine Chapel and Raphael's stanze in the Vatican.

Jean Germain Drouais. Letter to David. June 13, 1787 [published in David 1880, pp. 41-42], writes from Rome that he has heard the painting is superb.

Jean Germain Drouais. Letter to David. August 10, 1787 [published in David 1880, p. 42], implies that David wrote expressing concern that his figure of Socrates would be too cold and pale in tone for a man of advanced age.

Jean Germain Drouais. Letter to David. December 19, 1787 [published in David 1880, p. 51], writes enthusiastically about the painting, which he had seen in an engraving of the Salon installation.

The World (October 11, 1787), p. 2, names David among the most distinguished artists in the 1787 exhibition, mentioning this picture.

The World (October 18, 1787), p. 2, as having "particular excellence"; reports in error that "the original price, to Mons. Chatelet, was 150 Guineas. Since the Exhibition opened, 1000 Guineas have been offered, and refused!".

General Evening Post (September 8-11, 1787), p. 3 [as Extract of a Letter from Paris, Sept. 3].

"Extract of a letter from Paris, Sept. 18." Morning Chronicle and London Advertiser (September 26, 1787), p. 3, notes that Boydell took "great notice" of it.

"Arts: Extract of a Letter from Paris, Sept. 3." The Gazetteer and New Daily Advertiser (September 12, 1787), p. 3.

J. H. Meister. "Suite de la notice des tableaux exposés cette année au Louvre." (November 1787) [reprinted in "Correspondance littéraire, philosophique et critique par Grimm, Diderot, Raynal, Meister, etc.," ed. M. Tourneux, Paris, 1881, pp. 165-67], describes the picture at length and offers criticisms and, on balance, admiration.

J. H. Meister. "Fin de la notice des tableaux exposés cette année au Louvre." (December 1787) [reprinted in "Correspondance littéraire, philosophique et critique par Grimm, Diderot, Raynal, Meister, etc.," ed. M. Tourneux, Paris, 1881, p. 184].

Sir Brooke Boothby. Letter to Sir Joshua Reynolds. January 26, 1788 [published in Schnapper 1989, p. 573], observes that "M. David tho' a remarkably modest person is ambitious of fame. He wishes to have a picture seen in England, and would send either the Horatii or the Socrates . . . .".

"Extract of a letter from Paris, April 3." Public Advertiser (April 18, 1788), p. 2, as purchased by the Duke of Orleans.

The Star (December 18, 1788), p. 3, states that David "defers his attempt on London til next summer".

Louis François Henri Lefébure. Vérités agréables ou le salon vu en beau. Paris, 1789, pp. 15-16 [Collection Deloynes, vol. 16, no. 415, pp. 173-74; McWilliam 1991, no. 0465], compares the two versions, calling Peyron's painting, a royal commission, the work of "a profound philosopher," and David's that of "a great logician".

[Louis Petit de Bachaumont]. Mémoires secrets. Vol. 36, London, 1789, pp. 318-20, 346-47, compares Peyron's painting unfavorably to David's.

Explication des peintures, sculptures et gravures, de messieurs de l'Académie Royale, dont l'exposition a été ordonnée par sa majesté. Paris, 1791, p. 17, no. 88 [Collection Deloynes, vol. 17, no. 432].

M. D . . . [Philippe Chery]. Explication et critique impartiale de toutes les peintures, sculptures, gravures, dessins, &c., exposés au Louvre d'après le décret de l'Assemblée nationale, au mois de septembre 1791, l'an III de la Liberté. Paris, 1791, p. 37, no. 299 [reprinted in Anatole de Montaiglon, "Le livret de l'exposition faite en 1673 . . . suivi . . . des livrets . . . jusqu'en 1851," Paris, 1852; Collection Deloynes, vol. 17, no. 436, p. 171], as a masterpiece.

Jean Joseph Pithou de Loinville. Le plaisir prolongé, le retour du Salon chez soi et celui de l'abeille dans sa ruche. Paris, 1791, p. 39, no. 299 [Collection Deloynes, vol 17, no. 437, p. 243; McWilliam 1991, no. 0496], as beyond praise.

"De l'exposition de 1791, en général et particulièrement de celle des tableaux déjà connus par les précédentes expositions." Chronique de Paris ([September-October 1791]) [Collection Deloynes, vol. 17, no. 452, p. 601; McWilliam 1991, no. 0475], mentions the "Horatii" and "Brutus," as well as "Socrates".

Philippe Chery. Lettres analitiques, critiques et philosophiques, sur les tableaux du Sallon. Paris, 1791, pp. 59-60 [Collection Deloynes, vol. 17, no. 441, pp. 419-20; McWilliam 1991, no. 0485], as painted between the artist's "Horatii" and his "Brutus," better than the latter and inferior to the former.

André Chénier. "Sur la peinture d'histoire." Journal de Paris (March 20, 1792) [reprinted in G. Walter, ed., "Oeuvres complètes," 1940, p. 284], describes David as nourished by constant study of Italian masterpieces.

André Morellet. Mémoire pour les citoyennes Trudaine veuve Micault, Micault veuve Trudaine et le citoyen vivant Micault-Courbeton fils. Paris, 1794, p. 79, names Trudaine the elder as the one who commissioned this picture.

T. C. Bruun Neergaard. Sur la situation des beaux-arts en France, ou lettres d'un Danois à son ami. Paris, 1801, pp. 89, 96 [Collection Deloynes, no. 642; McWilliam 1991, no. 0618], states that Plato is seated beside Socrates; notes that many people criticized the picture for figures too closely resembling antiquity and faulted the artist for the highly finished drawing, but observes that censure may be a form of praise.

Joseph Farington. Journal entry. September 20, 1802 [published in Garlick, K., and Macintyre, A., eds. "The Diary of Joseph Farington," vol. 5, New Haven, 1979, p. 1861], mentions having seen in David's rooms in the Louvre "a drawing of the death of Socrates made by one of the Pupils of David".

C[harles]. P[aul]. Landon. Annales du musée et de l'école moderne des beaux-arts 3 (1803), pp. 147-48, ill. (C. Normand's engraving), as in the collection of Micault de Courbeton, brother-in-law of Trudaine, for whom it was painted.

[Pierre Jean-Baptiste Chaussard]. Le Pausanias français, ou description du salon de 1806. Paris, 1806, pp. 155-56 [reprinted in "Notice historique sur Louis David, peintre," Revue universelle des arts 18 (1863-64), pp. 119-20], states that the artist told him the pose of the mourning Crito was based on the position assumed by Uncle Harlowe during the reading of Clarissa's will in Richardson's novel Clarissa; as bought by "MM. de Trudaine".

The Historic Gallery of Portraits and Paintings, or, Biographical Review. London, 1807, vol. 1, pp. 255-56, ill. opp. p. 255 (W. Cooke's engraving) [paraphrase of Landon 1803].

Joachim Le Breton. Rapport sur les beaux-arts. 1808, pp. 43-44 n. 1, pp. 50, 105 [reprinted in "Rapports à l'Empereur sur le progrès des sciences, des lettres et des arts depuis 1789," vol. 5, "Beaux-arts," Paris, 1989, pp. 94-95 n. 31, pp. 100, 146].

William Hayley. The Life of George Romney, Esq. London, 1809, p. 149, states that when he and Romney saw this picture in 1790 it "imprest us with considerable respect for [David's] talents".

Notice sur la vie et les ouvrages de M. J.-L. David. Paris, 1824, pp. 32-34, relates that Napoleon, through David, tried to buy the painting from Trudaine for 60,000 francs; relates also that Trudaine had paid 10,000.

A[imé]. Th[omé de Gamond]. Vie de David. Paris, 1826, pp. 31, 129-30, 162.

A. Mahul. Annuaire nécrologique, ou complément annuel . . . année 1825. Paris, 1826, pp. 118, 135, as belonging to the marquis de Vérac.

P[ierre-]. F[rançois]. T[issot]. "Exposition de peinture au profit des grecs." Le constitutionnel (June 5, 1826), p. 3.

P[ierre]. A[lexandre]. Coupin. Essai sur J. L. David, peintre d'histoire . . . Paris, 1827, pp. 19, 46, 53, observes that David included Plato at the foot of the bed in the scene of Socrates's death although he was absent; identifies the disciple who touches the master as Crito, and relates the anecdote about André Chénier suggesting that Socrates should be shown extending his hand toward the cup.

Stamati Bulgari. Examen moral des principaux tableaux de la galerie du Luxembourg en 1818, et considérations sur l'état actuel de la peinture en France. Paris, 1827, pp. 6-8 [first published 1818; see Saunier 1913, p. 380 n. 1].

Stamati Bulgari. Sur le but moral des arts. [1827], pp. 2, 6, 10 [see Rosenthal 1900, p. 12].

Ch[arles]. Gabet. Dictionnaire des artistes de l'école française, au XIXe siècle. Paris, 1834, p. 178.

Charles de Pougens and Louise B. de Saint-Léon. Mémoires et souvenirs. Paris, 1834, p. 27.

Charles Blanc. Histoire des peintres français au dix-neuvième siècle. Paris, 1845, vol. 1, pp. 171-73, 203, 209.

Baudelaire-Dufays [Charles Baudelaire]. "Le musée classique du Bazar Bonne-Nouvelle." Le corsaire-satan (January 21, 1846) [reprinted in Y.-G. Le Dantec and C. Pichois, eds., "Baudelaire: Œuvres complètes," Paris, 1961, pp. 868-69; reprinted in English in J. Mayne, trans. and ed., "Art in Paris, 1845-1862: Salons and Other Exhibitions Reviewed by Charles Baudelaire," London, 1965, pp. 34-36], calls it admirable, but with a commonplace look reminding him of Duval-Lecamus, père.

?A. H. Delaunay. "Exhibition de l'association des artistes peintres, sculpteurs, architectes et graveurs." Journal des artistes (January 11, 1846), pp. 9-10 [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, p. 169].

T. Thoré. "Etudes sur la peinture française depuis la fin du 18° siècle: À propos de l'exposition de la Société des peintres . . . David . . ." Le constitutionnel (February 9, 1846) [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, pp. 206-8], observes that with David begins the reaction against the monarchy; calls Socrates a precursor of Christ; notes that the picture continues the philosophical tradition in French art of which Poussin is the best representative.

T. Thoré. "Etudes sur la peinture française depuis la fin du 18° siècle: À propos de l'exposition de la société des peintres. M. Ingres." Le constitutionnel (March 10, 1846) [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, pp. 222, 224], calls it an Apotheosis which impels the viewer to take the side of Socrates and of truth.

Delécluze. "Exposition des ouvrages de peinture dans la Galerie des beaux-arts, boulevard Bonne-Nouvelle, 22." Journal des débats (January 28, 1846) [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, pp. 237-38, 240], sees in this picture David's reaction to the Rococo and his return to the study of antiquity and the works of Le Sueur and Poussin.

Ch[arles]. Lenormant. "Exposition au profit des artistes malheureux." Le correspondant (1846) [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, pp. 277-78], comments on the animation of the figure of Socrates.

Miette de Villars. Mémoires de David, peintre et député à la Convention. Paris, 1850, pp. 36, 100, 189, 232, asserts that David was careless in preparing his canvases, citing this picture painted on a red canvas which showed through; states that Napoleon offered 80,000 francs for the picture; adds that the Trudaine heirs, not wanting to deprive the public, agreed to exhibit it for a year or two.

V[ictor]. Cousin. Lectures on the True, the Beautiful and the Good. New York, 1854, pp. 147-48.

E[tienne] J[ean] Delécluze. Louis David, son école & son temps. Paris, 1855, pp. 119, 348-49, 399 [reprinted in "Louis David, son école & et (sic) son temps," Paris, 1983], as perhaps David's most perfect composition, superior to his Horatii.

Henri Delaborde. "Peintres et sculpteurs modernes de la France. David et l'école française: 'Louis David, son école et son temps,' par M. Delécluze." Revue des deux mondes, 2nd ser., 10 (May 15, 1855), pp. 752-53 [reprinted in "Etudes sur les beaux-arts en France et en Italie," Paris, 1864, vol. 2, pp. 181, 183], admires its severe beauty and nobility but finds the execution cold.

Amédée Cantaloube. "Les dessins de Louis David." Gazette des beaux-arts 7 (1860), pp. 291-92, mentions drawings for the figures of the disciples, including Plato, in the Vinchon collection.

Ernest Chesneau. "Le mouvement moderne en peinture: Louis David." Revue européenne 15 (1861), pp. 82-83, 91, finds fault with this picture.

Ernest Chesneau. La Peinture française au XIXe siècle: Les Chefs d'école. Paris, 1862, pp. 11-14, 29, calls some poses unnatural, in particular that of Socrates, and emphasizes the reliance on Roman sculpture.

Charles Blanc. Histoire des peintres de toutes les écoles: École française. Vol. 2, Paris, 1862, pp. 6-7, 15, ill. p 13 ( the engraving by A. H. Cabasson and J. Quartley).

Jules Renouvier. Histoire de l'art pendant la Révolution. Paris, 1863, pp. 10, 76, 82, 85, 289, 291.

Théodore Lejeune. Guide théorique et pratique de l'amateur de tableaux. Vol. 1, Paris, 1864, p. 385.

Jean du Seigneur. "Appendice à la notice de P. Chaussard sur L. David." Revue universelle des arts 18 (1864), pp. 361-62, notes that it has been on view for some time ("pendant longtemps") at the Musée du Luxembourg.

L.-J. [J. L. Jules] David and Jacques Louis David. Notice sur le Marat de Louis David suivie de la liste de ses tableaux dressée par lui-même. Paris, 1867, pp. 35, 42, no. 26.

Paul Mantz. "Exposition en faveur de l'oeuvre des Alsaciens et Lorrains." Gazette des beaux-arts, 2nd ser., 10 (September 1874), pp. 200-202, ill. (engraving by Cabasson and Quartley), supposes in error that the Socrates exhibited in Paris in 1874 was a second smaller version and that it was also lent by David to the Salon of 1791.

L[ouis]. Clément de Ris. Les amateurs d'autrefois. Paris, 1877, p. 419.

J. L. Jules David. Le peintre Louis David, 1748-1825. Vol. 1, Souvenirs & documents inédits. Paris, 1880, pp. 41-42, 45-51, 637, notes that the desire to outdo Peyron, who had been commissioned to paint the same subject by the king, induced David to push this painting to an inappropriate degree of finish; doubts that the gesture of Socrates was the idea of Chénier; publishes an appreciation of the picture sent to the artist by "Le Courier Anglais," and identified in error as by Sir Joshua Reynolds; publishes a poem presented to Trudaine as well as three letters from Drouais, in which it is mentioned.

Théodore Gosselin. Histoire anecdotique des salons de peinture depuis 1673. Paris, 1881, p. 102.

J. L. Jules David. Le peintre Louis David, 1748-1825. Vol. 2, Suite d'eaux-fortes d'après ses oeuvres gravées par J. L. Jules David, son petit-fils. Paris, 1882, ill. (etching).

Ernest Choullier. "Les Trudaine." Revue de Champagne et de Brie 14 (1883), p. 468, states that it was painted for the elder Trudaine, who offered 2,000 écus but paid 3,000.

Léon Rosenthal. La peinture romantique. Paris, 1900, p. 7 n. 4, pp. 12, 102.

Olivier Merson. La peinture française au XVIIe siècle et au XVIIIe. 2nd ed. Paris, [1900], p. 326.

Léon Rosenthal. Louis David. Paris, [1904], pp. 33-36, 44, 165, ill. opp. p. 30, compares it to Poussin's "Testament of Eudamidas," but finds it lacks the humanity of the earlier work.

Charles Saunier. Louis David. Paris, 1904, p. 35.

J. J. Tikkanen. "Die Beinstellungen in der Kunstgeschichte." Acta Societatis Scientiarum Fennicæ 42, no. 1 (1912), p. 67.

Louis Hautecœur. Rome et la renaissance de l'antiquité à la fin du XVIIIe siècle. Paris, 1912, p. 162.

Léon Rosenthal. "L'exposition de David et ses élèves au Petit Palais." Revue de l'art ancien et moderne 33 (May 1913), pp. 340-41, observes that the puerility of intention and the porcelain-like surface were criticized by amateurs in 1787.

Charles Saunier. "David et son école au palais des beaux-arts de la ville de Paris (Petit Palais)." Gazette des beaux-arts, ser. 4, 9 (May 1913), pp. 373, 380 [misnumbered 273, 280], calls it severe and cold, although not to David's contemporaries and disciples.

Otto Grautoff. Nicolas Poussin: Sein Werk und sein Leben. Munich, 1914, vol. 1, p. 302, sees details from Poussin's "Washing of the Feet" in this picture and in that of Peyron.

Georges Grappe. "La psychologie de David." L'art vivant 1 (December 15, 1925), p. 29.

Raymond Régamey. "David." L'art vivant 1 (December 15, 1925), pp. 4-5, as from the moment David attained the maximum austerity.

André Salmon. "David révolutionnaire." L'art vivant 1 (December 15, 1925), p. 22.

William T. Whitley. Artists and Their Friends in England, 1700-1799. London, 1928, vol. 2, p. 101.

W. R. Valentiner. Jacques Louis David and the French Revolution. New York, 1929, p. 14, finds the composition too studied.

Richard Cantinelli. Jacques-Louis David, 1748-1825. Paris, 1930, pp. 24, 104, no. 52, pl. 18, observes that although the picture was an immense success in 1787, and can be compared with Poussin in its gravity and simplicity, it lacks his breadth and naturalism; states that it belongs to the vicomtesse Fleury.

Bryson Burroughs. "A Picture by Jacques Louis David." Metropolitan Museum of Art Bulletin 26 (June 1931), pp. 140-44, ill.

"'Perfect,' said Reynolds of Metropolitan's Masterpiece by David." Art Digest 5 (July 1, 1931), p. 11, ill.

E. Bonnardet. "Comment un Oratorien vint en aide à un grand peintre." Gazette des beaux-arts, 6th ser., 19 (1938), pp. 311-15, ill., assumes that the picture was commissioned in March 1786 by Trudaine de Montigny; publishes a letter dated April 8, 1786, by Jean Félicissme Adry, a classicist who, at David's request, wrote that he would study David's sketch ("contempler votre esquisse") and also suggested the choice of attitudes for Socrates's disciples: immobility for Plato, strong emotion for Crito, and grief for Apollodorus; notes that Adry also indicated ancient models for the portraits of Socrates and Plato, as well as for the composition-suggesting an engraving after a Roman marble with the Death of Meleager reproduced by Montfaucon (fig. 1) as an example.

Ch[arles]. P[icard]. "David et l'antique." Revue archaeologique 12 (July-December 1938), p. 112.

Klaus Holma. David, son evolution et son style. Paris, 1940, pp. 50-51, 55, 117-18 nn. 41-47, p. 126, fig. 9, compares the figures to antique statues; comments on Grautoff's comparison of the composition to Poussin's "Washing of the Feet", noting that David has not achieved Poussin's profundity; suggests the gestures of the disciples may have been inspired by Leonardo's Last Supper, and the gesture of Socrates by that of Zeus in Raphael's School of Athens; mentions a wash drawing with the vicomtesse Fleury.

Edgar Wind. "The Sources of David's 'Horaces'." Journal of the Warburg and Courtauld Institutes 4 (1940-41), p. 133 n. 6 , mentions that Diderot wrote the "Death of Socrates" as a pantomime.

Jacques Maret. David. Monaco, 1943, pp. 8, 117, no. 41, ill.

E[dgar]. W[ind]. "A Lost Article on David by Reynolds." Journal of the Warburg and Courtauld Institutes 6 (1943), pp. 223-24.

Gaston Brière. "Sur David portraitiste." Bulletin de la Société de l'Histoire de l'Art Français, années 1945-46, (1948), p. 179.

Michel Florisoone. David. Exh. cat., Orangerie des Tuileries. [Paris], 1948, pp. 49-50, no. M.O. 21, states that an analagous composition and a drawing are in the collection of the vicomtesse Fleury; mentions two pencil studies of the figures at the right in the Narbonne museum.

Michel Florisoone. "Premières conclusions à l'exposition David." Musées de France (November 1948), pp. 258-60.

Helen Rosenau. The Painter Jacques-Louis David. London, 1948, pp. 51, 72.

Douglas Cooper. "Jacques-Louis David: A Bi-Centenary Exhibition." Burlington Magazine 90 (October 1948), p. 279.

Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 232, no. 139, colorpl. 139.

Walter Friedlaender. David to Delacroix. New York, 1952, p. 17, fig. 4.

Jean Adhémar. David: Naissance du génie d'un peintre. [Monte Carlo?], 1953, pp. 42-43, 59-60, pls. 1, 12, 13, 17, 19, 20, reproduces studies after classical monuments made by David in Rome, some relating to this painting.

Louis Hautecœur. Louis David. Paris, 1954, pp. 90-96, 98, 112, 116, 189, 219, 238, 285, 291, 294, 297, 301, 303, cites other examples of the subject in French painting; adds that Trudaine owned a sketch (11 x 18 in.) for the picture that was "seized during the Revolution at the same time as the painting".

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 27.

Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), pp. 6, 45, ill.

Charles Sterling. The Metropolitan Museum of Art: A Catalogue of French Paintings. Vol. 1, XV-XVIII Centuries. Cambridge, Mass., 1955, pp. 191-96, ill., states that Charles Michel Trudaine de la Sablière commissioned the painting; identifies the source as Plato's Phaedo; observes that the composition follows the tradition established by Poussin's "Death of Germanicus" and "Testament of Eudamidas"; notes that in 1795 the Committee of Public Instruction ordered an engraving of the picture as propaganda directed against Robespierre; states that "a smaller but exact repetition" belongs to the heirs of Viscountess de Fleury; provides extensive bibliography.

René Crozet. "David et l'architecture néo-classique." Gazette des beaux-arts, 6th ser., 45 (1955), p. 219.

Walter Pach. "The Heritage of J.-L. David." Gazette des beaux-arts, 6th ser., 45 (February 1955), pp. 103-4.

Jean Seznec. Essais sur Diderot et l'antiquité. Oxford, 1957, pp. 19-20, fig. 9, traces the subject in the literature and painting of the period, noting that it was chosen for the 1762 Prix de Rome competition; remarks that David and Peyron represent the moment from the pantomime conceived by Diderot in his "Traité de la poésie dramatique" of 1758.

Anita Brookner. "Aspects of Neo-Classicism in French Painting." Apollo 68 (September 1958), pp. 71-72, finds Peyron's Socrates a better composition but observes that David has a sense of theatre and a commitment to the events of his age.

Jack Lindsay. Death of the Hero: French Painting from David to Delacroix. London, 1960, pp. 55-57, 61, fig. 2, states that Plato is based on a beggar sketched by David in Rome.

André Salmon. "Le 'Socrate' de David et le 'Phédon' de Platon." Revue belge de philologie et d'histoire 40 (1962), pp. 90-111, ill. opp. p. 100, relates it to Plato's "Phaedo," observing that David follows the details of the setting faithfully but takes some liberties with the characters; discusses the Greek inscription, the chain, lyre, and lamp.

Edgar Munhall. "Les dessins de Greuze pour 'Septime Sévère'." L'Oeil no. 124 (April 1965), p. 59, fig. 16.

Robert Rosenblum. Transformations in Late Eighteenth Century Art. Princeton, 1967, pp. 73-76, 103, 125-26, fig. 74, notes that the combination of archaeological realism with the realism of the materials distinguishes David's vision from Poussin's.

Anita Brookner. "J. L. David - A Sentimental Classicist." Stil und Überlieferung in der Kunst des Abendlandes. Berlin, 1967, vol. 1, pp. 188-89, pl. I/45, states that iconographically the subject goes back no further than Diderot but that formally it has its origins in Poussin; finds the sacrifice "not so much stoical as eucharistic," with twelve disciples present.

H. W. Janson and Joseph Kerman. A History of Art and Music. Englewood Cliffs, N.J., [1968], pp. 158-59, fig. 202, find it "more 'Poussiniste' than Poussin himself," with the lighting and realistic detail derived from Caravaggio.

Hugh Honour. Neo-classicism. Baltimore, 1968, p. 72.

New York Times. "Rosenquist's Giant 'F-111' at The Metropolitan at Last." New York Times (February 16, 1968), p. 31.

Hilton Kramer. "Art: A New Hangar for Rosenquist's Jet-Pop 'F-111'." New York Times (February 17, 1968), p. 25, reviews New York 1968; finds its inclusion in the exhibition to support Rosenquist's work to be "an idea of stunning vulgarity and insensitivity".

John Canaday. "It Would Be Awfully Nice if We Were All Wrong About the Whole Thing." New York Times (February 25, 1968), p. D23.

Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 224 [rev., enl. ed., 1989].

Frank Anderson Trapp. The Attainment of Delacroix. Baltimore, [1970], p. 202, ill.

Robert L. Herbert. David, Voltaire, 'Brutus' and the French Revolution: An Essay in Art and Politics. New York, 1972, pp. 39, 48, 68, suggests that the frieze-like arrangement of the figures was inspired by the paintings of Herculaneum and Pompeii.

Peter Tomory. The Life and Art of Henry Fuseli. New York, 1972, p. 90.

Sarah B. Sherrill. "Current and Coming - Neoclassical Art." Antiques 102 (September 1972), p. 338, ill.

Christopher Neve. "Neo-Classicism's Icy Star." Country Life 152 (September 7, 1972), p. 568, fig. 1.

Jeffery Daniels. "A Man's World." Art and Artists 7 (November 1972), pp. 28-29, ill.

Arlette Sérullaz in The Age of Neo-Classicism. Exh. cat., Royal Academy of Arts. [London], 1972, pp. xxvi, 41-42, 44, no. 63, pl. 2.

Hope Benedict Werness. "Essays on van Gogh's Symbolism." PhD diss., University of California, Santa Barbara, 1972, p. 125.

René Verbraeken. Jacques-Louis David jugé par ses contemporains et par la postérité. Paris, 1973, pp. 24-25, 28-30, 33, 46, 54-55, 80-82, 85 n. 58, pp. 87, 88 n. 11, pp. 94, 106, 108, 149 n. 54, pp. 150, 245.

et al. Dessins français du Metropolitan Museum of Art, New York: De David à Picasso. Exh. cat., Musée du Louvre. [Paris], 1973, p. 31, discuss the studies for this painting.

Daniel Wildenstein and Guy Wildenstein. Documents complémentaires au catalogue de l'oeuvre de Louis David. Paris, 1973, document nos. 162, 180, 188-89, 191-92, 195, 303, 327, 352, 1165, 1167, 1543, 1810, 1929, 1931, 1938, 2039, 2049 (20), 2062 (97), 2080; five sketches for the drapery, no. 2062 (97).

Anita Brookner. Jacques-Louis David: A Personal Interpretation. London, 1974, pp. 8, 11-14, pl. 1b.

Meir Stein. "Un chef-d'oeuvre retrouvé de Peyron." Bulletin de la Société de l'Histoire de l'Art Français, année 1973, (1974), pp. 235-37, observes that Peyron and David employed the same gesture for Socrates in their paintings.

Robert Herbert. "Baron Gros's Napoleon and Voltaire's Henri IV." The Artist and the Writer in France: Essays in Honour of Jean Seznec. Ed. Francis Haskell et al. Oxford, 1974, p. 67 n. 59, observes that David studied Moreau-le-Jeune's engraving of the subject, dated 1785, for Voltaire's "Socrate" [see Oberreuter-Kronabel 1986, pl. 2].

Robert Rosenblum. "'L'Épidémie d'Espagne' d'Aparicio au salon de 1806." Revue du Louvre et des musées de France 24 (1974), pp. 433, 435, ill.

Maria Evelina Zoltowska. "La première critique d'art écrite par un Polonais: 'Lettre d'un étranger sur le salon de 1787' de Stanislas Kostka Potocki." Dix-huitième siècle no. 6 (1974), pp. 335, 337, 339-40 [reprinted in "Stanislas Kostka Potocki, David, Denon et le Salon de 1787 . . . ," Antemurale 24 (1980), pp. 13, 16, 20, 45 n. 60, p. 49 nn. 89-92, p. 50 nn. 93-98, ill. p. 54].

Pierre Rosenberg. The Age of Louis XV: French Painting, 1710-1774. Exh. cat., Toledo Museum of Art. [Toledo], 1975, p. 33.

Seymour Howard. Sacrifice of the Hero: The Roman Years. A Classical Frieze by Jacques Louis David. Sacramento, 1975, p. 110 n. 88.

Charles McCorquodale. "From David to Delacroix." Art International 19 (June 15, 1975), p. 25.

Antoine Schnapper et al. in French Painting, 1774-1830: The Age of Revolution. Exh. cat., Detroit Institute of Arts. Detroit, 1975, pp. 40-42, 166, 359, 367-68, 411, 562, no. 32, ill. p. 82 [French ed., "De David à Delacroix: La peinture française de 1774 à 1830," Paris, 1974, pp. 40, 42-43, 168, 359, 367-68, 409, 555, no. 32, pl. 36].

René Huyghe. La Relève de l'imaginaire. La Peinture française au XIXe siècle: Réalisme, romantisme. Paris, 1976, pp. 71, 73, 120.

Diane Kelder. Aspects of "Official" Painting and Philosophic Art, 1789-1799. PhD diss., Bryn Mawr College. New York, 1976, pp. 18, 22-23, 35, 53-54, 121, 144, pl. 2.

Arnauld Brejon de Lavergnée in The Eye of Thomas Jefferson. Exh. cat., National Gallery of Art. Washington, 1976, pp. xxviii, 154, 190, 377, no. 331, ill. (color).

Lydie Huyghe in René Huyghe. La Relève de l'imaginaire. La Peinture française au XIXe siècle: Réalisme, romantisme. Paris, 1976, p. 447.

Frances Suzman Jowell. Thoré-Bürger and the Art of the Past. PhD diss., Harvard University. New York, 1977, p. 125.

Michael Fried. "Francis Haskell, Anthony Levi, and Robert Shackleton, eds., 'The Artist and the Writer in France: Essays in Honour of Jean Seznec'." Art Bulletin 59 (June 1977), pp. 289, 291, sees David's history paintings of the 1780s as exemplifying extreme states of absorption in an action or state of mind, as well as pictorial autonomy from the world of the viewer.

George Levitine. Girodet-Trioson: An Iconographical Study. PhD diss., Harvard University. New York, 1978, pp. 8, 35-36, 70, states that Girodet helped David paint some of the figures in the background.

Thomas Crow. "The 'Oath of the Horatii' in 1785: Painting and Pre-revolutionary Radicalism in France." Art History 1 (December 1978), pp. 429-30.

Steven A. Nash. "David, Socrates and Caravaggism: A Source for David's 'Death of Socrates'." Gazette des beaux-arts, 6th ser., 91 (May-June 1978), pp. 202-6, fig. 1, discusses as David's point of departure a Death of Socrates by a seventeenth-century Caravaggesque painter then in the Giustiniani collection, Rome (fig. 2; later Kaiser Friedrich Museum, destroyed in World War II); publishes a drawing after the Giustiniani picture (fig. 3; Nationalmuseum, Stockholm), as "attributed to" David and almost certainly bound into David's album before he painted his Death of Socrates.

Bernard Dunstan. "Looking at Paintings." American Artist 43 (September 1979), pp. 64-65, ill. (black and white and color).

Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 385, fig. 693 (color).

Anita Brookner. Jacques-Louis David. New York, 1980, pp. 29, 44, 46, 79-80, 82-86, 90, 99, 103, 112, 135, 167-68, fig. 43, as the epitome of French Neoclassical style.

Michael Fried. Absorption and Theatricality: Painting and Beholder in the Age of Diderot. Berkeley, 1980, pp. 136, 157, 160, 193 n. 81, p. 232 n. 60, p. 239 n. 102, p. 240 n. 108, comments on the "translation of the principal action away from the main axis (that of the vanishing point) as a means of retarding the viewer's grasp of what is taking place and thereby heightening the dramatic impact".

Michael Fried. "Representing Representation: On the Central Group in Courbet's 'Studio'." Art in America 69 (September 1981), p. 168.

Norman Bryson. Word and Image: French Painting of the Ancien Régime. Cambridge, 1981, pp. 205, 226, 233-35, 240, fig. 78, points out that "Socrates was a polemical figure in Enlightenment France because he raised the question of whether a high standard of morality could be achieved outside Christianity".

Philippe Bordes. "Dessins perdus de David, dont un pour 'la Mort de Socrate,' lithographiés par Debret." Bulletin de la Société de l'Histoire de l'Art Français, année 1979, (1981), pp. 179, 181-84, fig. 8, nn. 19-21, publishes as fig. 7 a lithograph (Musée des Beaux-Arts, Rennes) by David's pupil Jean-Baptiste Debret after a lost preparatory study.

Philip Conisbee. Painting in Eighteenth-Century France. Oxford, 1981, pp. 107-8, ill.

Meir Stein. "Et genfundet hovedværk af Peyron." Kunstmuseets Årsskrift 1977-1980 (1981), pp. 21-27, 30 nn. 31, 44.

Antoine Schnapper. David. English ed. New York, 1982, pp. 59, 72, 77, 80-84, 86, 100-101, 130, 174, fig. 39 [French ed., "David, témoin de son temps," Fribourg, Switzerland, 1980, pp. 59, 72-73, 76, 80-84, 86, 100-101, 128, 174, 178, fig. 39], draws attention to a sketch in David's Berlin album [Kupferstichkabinett, inv. 79 d 30a, folio 23] as a source for the gesture of Socrates.

Pierre Rosenberg and Udolpho van de Sandt. Pierre Peyron, 1744-1814. Neuilly-sur-Seine, 1983, pp. 124-26, fig. 113, state that when Trudaine commissioned this picture in March 1786, the subjects of pictures commissioned in the name of Louis XVI were already known; conclude that David suggested the subject and that in his rivalry with Peyron he put all his effort into the Socrates, neglecting a royal commission.

Philippe Bordes. Le Serment du Jeu de Paume de Jacques-Louis David: Le peintre, son milieu et son temps de 1789 à 1792. Paris, 1983, pp. 21-22, 95 n. 39, pp. 131-32, publishes the complete French text of the "courier anglais" 1787; states that Trudaine commissioned from David a Death of Socrates of the size favored by Poussin.

Luc de Nanteuil. Jacques-Louis David. New York, 1985, pp. 24, 58, 60, 63, 68, 94, 106, 132, colorpl. 12.

Philippe Ariès. Images of Man and Death. Cambridge, Mass., 1985, p. 102, fig. 157.

Thomas E. Crow. Painters and Public Life in Eighteenth-Century Paris. New Haven, 1985, pp. 215-16, 243-47, fig. 117, argues that the initiative for the choice of subject came from David, who wished to surpass Peyron effortlessly at the point of the latter's maximum strength".

Antoine Schnapper in 1770-1830: Autour du Néo-Classicisme en Belgique. Ed. Denis Coekelberghs and Pierre Loze. Exh. cat., Musée Communal des Beaux-Arts d'Ixelles. [Brussels], 1985, p. 30.

Gabriele Oberreuter-Kronabel. Der Tod des Philosophen: Zum Sinngehalt eines Sterbebildtypus der französischen Malerei in der zweiten Hälfte des 18. Jahrhunderts. Munich, 1986, pp. 27-28, 33, 60-84, 91-94, 142-43 nn. 195, 206, p. 144 nn. 109, 211, p. 146 nn. 230, 232-33, p. 147 nn. 236, 244, p. 148 nn. 266-67, p. 149 nn. 268-69, p. 177, ill. on cover (detail), fig. 27, notes similarities to the engraving by Moreau le jeune (fig. 2) exhibited in the Salon of 1785; publishes entries from an "inventaire des objets reservés pour la Nation" from the Trudaine residence [Archives Nationales, Paris, F17 1267 (T, No. 190)] where this picture is no. 1 and no. 13 is "La première pensée de la mort de Socrate. esquisse peinte composition de 9 figures. Sur toile, hauteur 11 pouces sur 18."; identifes a Greek votive relief in the Vatican Museums (fig. 32) as the source for the drawing by David that inspired Socrates' gesture.

Yvonne Korshak. "'Paris and Helen' by Jacques Louis David: Choice and Judgment on the Eve of the French Revolution." Art Bulletin 69 (March 1987), pp. 102-3, fig. 2.

Albert Boime. A Social History of Modern Art. Vol. 1, Art in an Age of Revolution, 1750-1800. Chicago, 1987, pp. 405, 407-11, 417, 430, fig. 5.3.

Jean-Jacques Lévêque. L'art et la Révolution française, 1789-1804. Neuchâtel, Switzerland, 1987, pp. 220-21, ill. (color).

Thomas Puttfarken. "Whose public?" Burlington Magazine 129 (June 1987), p. 399.

Donna Marie Hunter. "Second Nature: Portraits by J.-L. David, 1769-1792." PhD diss., Harvard University, 1988, pp. 230, 273 n. 14, pp. 336, 348, 425-26 nn. 95-97, notes that Potocki's "praise for a single artist coupled with a harsh assessment of the French school at large outraged certain academicians".

Yvonne Korshak. "Discussion: An Exchange on Jacques Louis David's 'Paris and Helen'." Art Bulletin 70 (September 1988), p. 520.

Philippe Bordes. David. Paris, [1988], pp. 49, 52, 110, ill. pp. 50-51 (color).

Régis Michel. David: L'art et le politique. Paris, 1988, pp. 44-47, 170, ill. (color, overall and details).

Fred Licht in Goya and the Spirit of Enlightenment. Exh. cat., Museo Nacional del Prado. Boston, 1988, p. lxxvii, fig. 1.

Philippe Bordes and Régis Michel, ed. Aux armes & aux arts!: Les arts de la Révolution, 1789-1799. Paris, 1988, pp. 13, 15, 26, 36.

Norman Bryson. "Centres and Margins in David." Word & Image 4 (January-March 1988), pp. 44, 48, fig. 1.

Dorothy Johnson. "Corporality and Communication: The Gestural Revolution of Diderot, David, and 'The Oath of the Horatii'." Art Bulletin 71 (March 1989), p. 111.

Gilles Néret. David: La terreur et la vertu. Paris, 1989, pp. 32, 35, 139.

Bernard Noël. David. Paris, 1989, pp. 20, 24, 26, ill.

Jean-Jacques Lévêque. La vie et l'oeuvre de Jacques-Louis David. Paris, 1989, pp. 82, 84, ill. p. 85 (color).

Brigitte Gallini in La Révolution française et l'Europe, 1789-1799. Exh. cat., Galeries nationales du Grand Palais. Paris, 1989, p. 293, comments on the general preference for history subjects during the revolutionary period following the lead of David.

Warren Roberts. Jacques-Louis David, Revolutionary Artist: Art, Politics, and the French Revolution. Chapel Hill, 1989, pp. 19, 32, 34, 111, 123, 204, fig. 6, discusses the picture in the context of the société Trudaine.

Alan Wintermute in 1789: French Art During the Revolution. Ed. Alan Wintermute. Exh. cat., Colnaghi. New York, 1989, pp. 112, 114, 116-19, fig. 1, states that the Princeton replica was clearly made in David's shop and proposes Girodet as the copyist.

Carol S. Eliel in 1789: French Art During the Revolution. Ed. Alan Wintermute. Exh. cat., Colnaghi. New York, 1989, p. 58, mentions the depiction of the scroll and beakers on the floor as examples of David's interest in texture and effects of light.

Jean-François Heim, Claire Béraud, and Philippe Heim. Les salons de peinture de la Révolution française, 1789-1799. Paris, 1989, p. 174, ill. p. 175.

Nina Athanassoglou-Kallmyer. French Images from the Greek War of Independence, 1821-1830: Art and Politics under the Restoration. New Haven, 1989, pp. 39, 157.

Antoine Schnapper in Jacques-Louis David, 1748-1825. Exh. cat., Musée du Louvre, Paris and Musée National du Château, Versailles. Paris, 1989, pp. 18-19, 21, 122-23, 160, 178-81, 186, 197-98, 329-30, 571-73, 577, 601, 635, fig. 44, publishes a newly discovered drawing signed and dated 1782 (no. 76, private collection), which he considers to be evidence that David attempted the subject before Trudaine's commission; observes that the date is supported by the fact that the verso of the drawing depicts Horace and Camille in the poses in which they appear in a 1781 drawing (cat. no. 52); notes that Debret's 1844 lithograph follows the 1782 drawing.

Stephanie Carroll. "Reciprocal Representations: David & Theater." Art in America 78 (May 1990), pp. 203, 259, states that the Horatii and the Socrates were staged as "tableaux vivants" on October 31, 1789, at the Théâtre Ombres Chinoises "in what contemporary accounts called parodies".

E. D. Lilley. "Jacques-Louis David and Joshua Reynolds: A Note and a Query." British Society for Eighteenth-Century Studies Bulletin no. 21 (Summer 1990), pp. 10-13.

Philippe Bordes. "Paris and Versailles: David." Burlington Magazine 132 (February 1990), p. 154, calls the signature and date of 1782 on the recently discovered drawing additions.

Philippe Bordes Institute of Fine Arts, New York University. Lecture. October 28, 1991, suggests that the print dealer John Boydell was the author of the praise-filled review of October 2, 1787, that appeared in Journal of the World; suggests that Reynolds translated the review and mailed it to David.

Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. Ed. Nicholas H. J. Hall. New York, 1992, p. 33.

Colin B. Bailey in The Loves of the Gods: Mythological Painting from Watteau to David. Exh. cat., Kimbell Art Museum, Fort Worth. New York, 1992, pp. 509-10.

José-Luis de Los Llanos. Fragonard et le dessin français au XVIIIe siècle dans les collections du Petit Palais. Exh. cat., Petit Palais. Paris, 1992, p. 100.

Philippe Bordes. "Jacques-Louis David's Anglophilia on the Eve of the French Revolution." Burlington Magazine 134 (August 1992), pp. 482, 484, 487, 490, ill., publishes the entire original text of the October 2, 1787, Boydell article in The World, explaining that the letter attributed incorrectly to Reynolds is a translation of Boydell's piece.

Patrick Matthiesen and Guy Stair Sainty. Fifty Paintings, 1535-1825, to Celebrate Ten Years of Collaboration between The Matthiesen Gallery, London, and Stair Sainty Matthiesen, New York. London, 1993, pp. 186, 194.

Gerald Carr. "David, Boydell and 'Socrates': A Mixture of Anglophilia, Self-Promotion and the Press." Apollo 137 (May 1993), pp. 307-8, 310-13, 315, fig. 1 (color), attributes the October 2, 1787, article to Boydell; reviews the circumstances which caused David to cancel his visit to London.

Dorothy Johnson. Jacques-Louis David: Art in Metamorphosis. Princeton, 1993, pp. 66-68, 86, 97, fig. 37.

Garry Apgar. "Jacques-Louis David (1748-1825) . . . A Critical View." Apollo 137 (May 1993), pp. 304, 306.

Edouard Pommier. "David et le patrimoine." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, p. 568.

Seymour Howard. "Crise et classicisme: David et Rome." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, p. 50.

Udolpho van de Sandt. "David pour David: 'Jamais on ne me fera rien faire au détriment de ma gloire'." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, pp. 130, 137 n. 35.

Colin Bailey. "'Les grands, les cordons bleus': Les clients de David avant la Révolution." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, pp. 145, 151, fig. 65.

Michael Fried. "David et l'antithéâtralité." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, pp. 207-8, 211, 216, 223 n. 17, fig. 65.

Lina Propeck. "David et le portrait du roi." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, p. 309.

Philippe Bordes. "'Brissotin enragé, ennemi de Robespierre': David, conventionnel et terroriste." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, p. 343, fig. 65.

Alex Potts. "De Winckelmann à David: L'incarnation des idéaux politiques." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, fig. 65; vol. 2, pp. 649, 652.

Neil McWilliam. "Les David du XIXe siècle." David contre David. Ed. Régis Michel. Paris, 1993, vol. 2, p. 1132 n. 14.

Hubertus Kohle. "La modernité du passé: David, la peinture d'histoire et la théorie néo-classique." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, fig. 65; vol. 2, pp. 1095, 1100-06, 1110.

Adrian Rifkin. "Un effet David? Les mots de l'art et le statut de l'artiste." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, fig. 65; vol. 2, p. 1085.

Alvar González-Palacios. "Jacques-Louis David: Le décor de l'antiquité." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, fig. 65; vol 2, pp. 938-39.

Antoine Schnapper. "David et l'argent." David contre David. Ed. Régis Michel. Paris, 1993, vol. 2, pp. 915, 917.

Sylvain Laveissière. "'Date obolum Picturae': Prud'hon, David du pauvre?" David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, fig. 65; vol. 2, p. 904.

Klaus Herding. "La notion de temporalité chez David à partir du Marat." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, pp. 434, 436.

Alain Pougetoux. "'Un élève de David et son plus favori': Georges Rouget." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, fig. 65; vol. 2, p. 885.

Thomas E. Crow. "Girodet et David pendant la Révolution: Un dialogue artistique et politique." David contre David. Ed. Régis Michel. Paris, 1993, vol. 2, p. 854.

Jean-Rémy Mantion. "David en toutes lettres." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, fig. 65; vol. 2, pp. 809, 812-13.

Norman Bryson. "David et le 'Gender'." David contre David. Ed. Régis Michel. Paris, 1993, vol. 1, fig. 65; vol. 2, p. 722.

Thomas E. Crow. "A Male Republic: Bonds between Men in the Art and Life of Jacques-Louis David." Femininity and Masculinity in Eighteenth-Century Art and Culture. Ed. Gill Perry and Michael Rossington. Manchester, 1994, pp. 205, 211-13, 217 n. 18, fig. 35, identifies this painting as one in which Greek same-sex "eros" is central; describes it as a tribute to "one ideal of leisured, disinterested masculine fellowship," and links this ideal to the egalitarian environment of David's studio in the 1780s.

Gill Perry and Michael Rossington. "Introduction." Femininity and Masculinity in Eighteenth-Century Art and Culture. Ed. Gill Perry and Michael Rossington. Manchester, 1994, p. 8.

Bruno Foucart in "La critique artistique devant l'exposition du Bazar Bonne-Nouvelle." Le baron Taylor, l'Association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846. Paris, 1995, pp. 26, 29, ill. p. 43.

Thomas E. Crow. Emulation: Making Artists in Revolutionary France. New Haven, 1995, pp. 95-103, 108, 140, 183, 316 nn. 50, 54, 60, colorpl. 72, argues that Girodet "was called in to paint several of the secondary figures".

Heino R. Möller. "Jacques-Louis David, Johannes Grützke und der Sterbende Sokrates." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 40 (1995), pp. 249-71, fig. 1, analyzes it at length in comparison with Johannes Grützke's 1975 painting of the same subject.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 385, ill.

Michael Kimmelman. "At the Met with Roy Lichtenstein: Disciple of Color and Line, Master of Irony." New York Times (March 31, 1995), p. C27.

Michael Kimmelman. "At the Met with Leon Golub and Nancy Spero." New York Times (January 5, 1996), p. C5.

Garry Apgar. "David and After." Art in America 84 (February 1996), pp. 25, 27, 29.

Joseph Geiger. "Giambettino Cignaroli's Deaths of Cato and of Socrates." Zeitschrift für Kunstgeschichte 59, no. 2 (1996), p. 275 n. 41.

Valérie Bajou in La Grèce en révolte: Delacroix et les peintres français, 1815-1848. Exh. cat., Musée des Beaux-Arts, Bordeaux. Paris, 1996, p. 270.

Dorothy Johnson. The Farewell of Telemachus and Eucharis. Los Angeles, 1997, pp. 10, 12, fig. 10.

Sophie Monneret. David et le néoclassicisme. Paris, 1998, pp. 73, 78; ill. in color pp. 76-77, as a posthumous homage to Diderot.

Luc Ferry. Le sens du beau. Paris, 1998, p. 88, fig. 49 (color).

Michael Kimmelman. Portraits: Talking with Artists at the Met, the Modern, the Louvre and Elsewhere. New York, 1998, pp. 90-92, ill. [text similar to Kimmelman 1995].

[Robert B. Simon]. Figure and Fantasy in French Painting, 1650-1800. Exh. cat., Berry-Hill Galleries. New York, 1999, p. 64.

Simon Lee. David. London, 1999, pp. 70, 99-105, 108, 116, 144, 217, colorpls. 66-67, describes the unfinished replica in Princeton as probably painted with Girodet's assistance.

Alan Hyde. Our Homosocial Constitution: Some Sexual and Political Themes in Paintings Admired by the Founding Fathers. June 1999, pp. 3, 7, 12-13, 23 n. 49, 27 n. 90 [see http://www.andromeda.rutgers.edu/~hyde/homo.htm].

Mary Vidal. "David's 'Telemachus and Eucharis': Reflections on Love, Learning, and History." Art Bulletin 82 (December 2000), p. 717 n. 12.

Warren Roberts. Jacques-Louis David and Jean-Louis Prieur: Revolutionary Artists. Albany, 2000, pp. 240-41.

William Vaughan in "Terror and the 'Tabula Rasa': David's 'Marat' in its Pictorial Context." Jacques-Louis David's "Marat". Ed. William Vaughan and Helen Weston. Cambridge, 2000, p. 84.

Andrea Kirsh and Rustin S. Levenson. Seeing Through Paintings: Physical Examination in Art Historical Studies. New Haven, 2000, p. 262.

Claudia Einecke in Final Moments: Peyron, David, and "The Death of Socrates". Exh. cat.Omaha, 2001, pp. 20-25 nn. 5-6, pp. 29, 31, 33, 35, 42, fig. 3, describes this picture's "'semaphoric' figures whose postures and gestures 'signal' emotions rather than enact them".

Pierre Rosenberg in Final Moments: Peyron, David, and "The Death of Socrates". Exh. cat.Omaha, 2001, pp. 5, 10-12, fig. 3.

Pierre Rosenberg in "David e la collezione Giustiniani." Caravaggio e i Giustiniani: Toccar con mano una collezione del Seicento. Ed. Silvia Danesi Squarzina. Exh. cat., Palazzo Giustiniani. Milan, 2001, p. 104.

Giovanna Capitelli in "La collezione Giustiniani tra Settecento e Ottocento: Fortuna e dispersione." Caravaggio e i Giustiniani: Toccar con mano una collezione del Seicento. Ed. Silvia Danesi Squarzina. Exh. cat., Palazzo Giustiniani. Milan, 2001, p. 117.

Robert Rosenblum. "David and Monsiau: Bonaparte tames Bucephalus." Mélanges en hommage à Pierre Rosenberg: Peintures et dessins en France et en Italie, XVIIe-XVIIIe siècles. Paris, 2001, p. 401.

Dorothy Johnson. "Delacroix's Dialogue with the French Classical Tradition." The Cambridge Companion to Delacroix. Ed. Beth S. Wright. Cambridge, 2001, p. 114, fig. 37, as one of the best known eighteenth-century deathbed images that derived from seventeenth-century French classical prototypes.

René Démoris and Florence Ferran. La peinture en procès: l'invention de la critique d'art au siècle des Lumières. Paris, 2001, pp. 316, 392.

Kenneth Lapatin. "Picturing Socrates." A Companion to Socrates. Ed. Sara Ahbel-Rappe and Rachana Kamtekar. Malden, Mass., 2001, pp. 141-43, 148, fig. 8.34.

Stephen Bann. "Entre philosophe et critique: Victor Cousin, Théophile Gautier et l'art pour l'art." L'invention de la critique d'art. Ed. Pierre-Henry Frangne and Jean-Marc Poinsot. Rennes, 2002, pp. 138-39.

Pierre Rosenberg and Louis-Antoine Prat. Jacques-Louis David, 1748-1825: Catalogue raisonné des dessins. Milan, 2002, vol. 1, pp. 50, 67, 70-72, 79, 88, 97-101, 109-10, 182, 226, 344, 429, 454, 514, 560, 657, under nos. 52, 81, 81a, 82, 83, 84, 85, 86, 984, fig. 52b; vol. 2, pp. 756, 1173, 1191, 1214, 1221, discuss related drawings.

Steven Conn. "Narrative Trauma and Civil War History Painting, or Why are These Pictures so Terrible." History and Theory 41 (December 2002), p. 24.

Bennard B. Perlman. American Artists, Authors, and Collectors: The Walter Pach Letters, 1906-1958. Albany, 2002, pp. 17, 71, 119, 124, 126-27, 130, 349, ill. p. 125, publishes correspondence between Walter Pach and Bryson Burroughs concerning Pach's role in securing this painting for The Met.

Catherine Guégan. "Du héros et du grand homme: Alexandre, Socrate et les critiques du Salon de 1787." Orages: Litterature et Culture 1760-1830 2 (2003), pp. 28, 34-36, 39-42, ill.

Anthony F. Janson. "Review of 'Nineteenth-Century European Art' by Petra ten-Doesschate Chu." Nineteenth-Century Art Worldwide 2 (Autumn 2003) [http://www.19thc-artworldwide.org/autumn03/265-nineteenth-century-european-art-by-petra-ten-doesschate-chu], criticizes Chu for failing to mention how the picture "departs from historical reality" and "the fact that Socrates himself was already seen as a martyr for truth in Greek times".

Jean-Pierre Poirier. La science et l'amour: Madame Lavoisier. Paris, 2004, p. 105.

Margaret A. Oppenheimer. The French Portrait: Revolution to Restoration. Exh. cat., Smith College Museum of Art. Northampton, Mass., 2005, p. 53.

Dorothy Medlin in "André Morollet and the Trudaines." Social history; Morellet; Social Anthropology; History of the Book. Oxford, 2005, p. 122 n. 39.

Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 16-17 [Catalan ed., Barcelona, 2006, p. 17].

Pierre Rosenberg. Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Milan, 2006, pp. 17, 156, ill. (color).

Petra ten-Doesschate Chu. Nineteenth-Century European Art. 2nd ed. Upper Saddle River, N.J., 2006, p. 60, fig. 2-19.

Darcy Grimaldo Grigsby. "The First Painter and the Prix Décennaux of 1810." David after David: Essays on the Later Work. Ed. Mark Ledbury. Williamstown, Mass., 2007, p. 21.

Michel Hilaire in Laure Pellicer and Michel Hilaire. François-Xavier Fabre (1766-1837): De Florence à Montpellier. Exh. cat., Musée Fabre, Montpellier. Paris, 2008, p. 248-50, fig. 1 (color), includes it in a discussion of Fabre's 1802 Socrates (Musée d'Art et d'Histoire, Geneva).

Mary Sprinson de Jesús. "Adélaïde Labille-Guiard's Pastel Studies of the Mesdames de France." Metropolitan Museum Journal 43 (2008), pp. 159, 164.

Joyce Carol Polistena. The Religious Paintings of Eugène Delacroix (1798-1863): The Initiator of the Style of Modern Religious Art. Lewiston, New York, 2008, p. 54.

Satish Padiyar. "Who Is Socrates? Desire and Subversion in David's 'Death of Socrates' (1787)." Representations 102 (Spring 2008), pp. 27-52, fig. 1.

Marie-Odile van Caeneghem. "Les Lavoisier par Jacques Louis David: Un tableau prémonitoire." Sparsae, hors série, no 4. (2009), p. 73.

Earl A. Powell III in Philip Conisbee. French Paintings of the Fifteenth through the Eighteenth Century. Washington, 2009, p. XI.

Horton A. Johnson. "The Poison in the Cup." Pharos (Spring 2011), pp. 27-29, ill. (color).

Lucile Roche. "Le 'Portrait de M. et Mme Lavoisier' par Jacques-Louis David [1788]: Les antinomies du paraître." Master's thesis, Université Paris 1 Panthéon-Sorbonne, 2011-12, pp. 6, 9 n. 26, pp. 11, 72 n. 115, pp. 83, 91-92, 94, 98 n. 107, pp. 103, 105, 111, 113, fig. 124.

Marie-Josèphe Bonnet. Liberté, égalité, exclusion: femmes peintres en révolution, 1770-1804. Paris, 2012, pl. 3 (Martini's engraving).

Antoine Schnapper. David, la politique et la révolution. Paris, 2013, pp. 58-61, colorpl. II, ill. pp. 74-75 (color).

Philippe Bordes. Hilaire Ledru (Oppy, 19 février 1769-Paris, 2 mai 1840): Indigence et Honneur. Paris, [2015], pp. 14, 24.

Eugenio Riccòmini. 1789 e dintorni: L'arte negli anni della rivoluzione francese. Bologna, 2015, p. 59, fig. 50 (color).

Revolution. Christie's, New York. April 13, 2016, unpaginated, under no. 11.

Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, pp. 426, 429, no. 308, ill. pp. 322, 426 (color).

Mehdi Korchane in De l'alcôve aux barricades, de Fragonard à David: Dessins de l'École des Beaux-Arts. Ed. Emmanuelle Brugerolles. Exh. cat., Fondation Custodia. Paris, 2016, p. 160.

Louis-Antoine Prat. "Quelques nouveaux dessins de Jacques-Louis David (1748-1825)." De David à Delacroix: Du tableau au dessin. Ed. Pierre Rosenberg. Paris, 2016, pp. 111-12.

Yuriko Jackall in America Collects Eighteenth-Century French Painting. Exh. cat., National Gallery of Art. Washington, 2017, pp. 7, 10, 25 n. 3, p. 297.

Philippe Bordes in America Collects Eighteenth-Century French Painting. Exh. cat., National Gallery of Art. Washington, 2017, pp. 106-8, 110, 112, 118 nn. 29, 30, 36, 42, fig. 5 (color).

Melissa Hyde in America Collects Eighteenth-Century French Painting. Exh. cat., National Gallery of Art. Washington, 2017, p. 85, 89 n. 108.

Humphrey Wine. The Eighteenth Century French Paintings. London, 2018, pp. 21, 142.

Sébastien Allard and Côme Fabre in Delacroix. Exh. cat., The Metropolitan Museum of Art. New York, 2018, p. 100.

Neil Jeffares. Minutiae at the Met. March 29, 2019, unpaginated [https://neiljeffares.wordpress.com/2019/03/29/minutiae-at-the-met/].

Neil Jeffares. "Foreign Legion." Apollo 189 (April 2019), p. 102.

Katharine Baetjer. French Paintings in The Metropolitan Museum of Art from the Early Eighteenth Century through the Revolution. New York, 2019, pp. 306-17, 379, no. 106, ill. pp. 14, 307-8 (color, overall and details).

Charlotte Hale in Katharine Baetjer. French Paintings in The Metropolitan Museum of Art from the Early Eighteenth Century through the Revolution. New York, 2019, p. 315.

Carol Santoleri in Katharine Baetjer. French Paintings in The Metropolitan Museum of Art from the Early Eighteenth Century through the Revolution. New York, 2019, p. 31.

Katharine Baetjer and Joan R. Mertens. "The Founding Decades." Making The Met, 1870-2020. Ed. Andrea Bayer with Laura D. Corey. Exh. cat., The Metropolitan Museum of Art. New York, 2020, pp. 43, 258 n. 22.

Colin B. Bailey. "Review of Baetjer 2019." Burlington Magazine 163 (May 2021), pp. 470, 472-73, fig. 3 (color).

Silvia A. Centeno et al. "Discovering the Evolution of Jacques-Louis David's Portrait of Antoine-Laurent and Marie-Anne Pierrette Paulze Lavoisier." Heritage Science 9 (August 30, 2021) [https://doi.org/10.1186/s40494-021-00551-y], notes that "admixtures of vermillion to achieve deep blacks and browns" have been observed.

David Pullins, Dorothy Mahon, and Silvia A. Centeno. "The Lavoisiers by David: Technical Findings on Portraiture at the Brink of Revolution." Burlington Magazine 163 (September 2021), p. 787.

Perrin Stein in Jacques Louis David: Radical Draftsman. Ed. Perrin Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2022, dustjacket, pp. 15, 22, 111, 132, 143-49, 156, 158, 167-68, 170, 205-6, 241, 267 n. 9, p. 276 nn. 1, 4, 5, 9, p. 277 nn. 17, 19, 21-22, 25, 31-35, no. 35, ill. p. 143 (color), figs. 89-91 (MA-XRF distribution maps and infrared reflectogram), notes that the off-center vanishing point above Plato's head reinforces the primacy of his role in the story; discusses how David shifted figures in his compositional studies to "incorporate elements from Plato's account"; proposes that due to the differences between the compositional study (2015.149) and the picture, there were likely additional studies executed.

Benjamin Perronet in Jacques Louis David: Radical Draftsman. Ed. Perrin Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2022, p. 97, relates the figure of Plato to that of a seated man in album no. 6, leaf 3.

Daniella Berman in Jacques Louis David: Radical Draftsman. Ed. Perrin Stein. Exh. cat., The Metropolitan Museum of Art. New York, 2022, p. 173.

Michael Prodger. "Opening Acts." Apollo 195 (February 2022), pp. 48, 51, fig. 3 (color).

Jason Farago. "The Dangerous Beauty of Jacques-Louis David." New York Times (February 17, 2022), ill. (color, installation view) [https://www.nytimes.com/2022/02/17/arts/design/met-museum-drawings-french-revolution.html].

Anne Higonnet. "Disney Plus: Revolt and Rococo at The Met." Artforum (March 2, 2022) [https://www.artforum.com/slant/revolt-and-rococo-at-the-met-88038].

Billy Anania. "Was Jacques Louis David Really That Radical?" Hyperallergic (March 10, 2022) [https://hyperallergic.com/712955/was-jacques-louis-david-really-that-radical/].

Philip Kennicott. "A Master of Propaganda, Artist Jacques Louis David Helped Sell Frenchmen on the Revolution." Washington Post (March 24, 2022), ill. (color) [https://www.washingtonpost.com/arts-entertainment/2022/03/24/jacques-louis-david-met-museum-exhibition/].

Satish Padiyar. "Rarely Appealing as Autonomous Works, Jacques-Louis David's Drawings Were Instrumental in Preparing His Large History Paintings." Burlington Magazine 164 (May 2022), pp. 493-94.

Colin B. Bailey. "A Master at Work." New York Review of Books (May 12, 2022), p. 56.

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Jacques Louis David | The Death of Socrates | The Metropolitan Museum of Art

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L. N. [Alexandre Lenoir]. L'ombre de Rubens au sallon, ou l'école des peintres, dialogue critique. 1787, pp. 37, 41 [Collection Deloynes, vol. 15, no. 371, pp. 97, 101; McWilliam 1991, no. 0451], finds the background too prominent; notes that the sharpness and murderous effect ["effet meurtrier"] suggest a colored sculpture, not the sweet harmony of a painting.

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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1. Bartolomé Estebán Murillo

2. Virgin and Child

3.  1670s

4.  Oil on canvas

this piece of art show a emotion connection to some and beliefs because she is the virgan maria being it is the mother of God. I choose this piece of art work because it is know publicly.

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1. Artist's name: Claude Monet

2. Title of artwork: Woman with a Parasol

3. Year it was created: 1875

4. Material/Medium: Oil on canvas

I was drawn to this painting because of how beautiful it is. It is really nice to look at. I especially like how the brush strokes are used in a way to indicate wind as well. I think it is meant to represent a causal family outing rather than a formal one. So in a way I can relate to this painting because they are just experiencing a regular family outing, perhaps even at a park.

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"Nighthawks" by Edward Hopper, 1942, oil on canvas

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Ah yes, "Nighthawks," a personal favorite. I love its aesthetic. In the midst of WW2, Hopper paints two men, a woman, and a server inhabiting a cafe in a desolate street at night. The painting perfectly encapsulates the feeling of urban loneliness, and the aesthetics of a city at night-time. Artificial light fills the street. There are no entrances nor doors, not even for the server's bar. Everyone looks distant, even the woman and the man sitting next to each other. I love it. It's like I can hear a detective film noir's soundtrack. I chose it because I love the personal aesthetics, and the emotions and mood it gives the audience.

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Nighthawks

Date:

1942

Artist:

Edward Hopper
American, 1882-1967

Related

Related

About this artwork

About Nighthawks Edward Hopper recollected, "unconsciously, probably, I was painting the loneliness of a large city." In an all-night diner, three customers sit at the counter opposite a server, each appear to be lost in thought and disengaged from one another. The composition is tightly organized and spare in details: there is no entrance to the establishment, no debris on the streets. Through harmonious geometric forms and the glow of the diner's electric lighting, Hopper created a serene, beautiful, yet enigmatic scene. Although inspired by a restaurant Hopper had seen on Greenwich Avenue in New York, the painting is not a realistic transcription of an actual place. As viewers, we are left to wonder about the figures, their relationships, and this imagined world.

Status

On View, Gallery 262

Department

Arts of the Americas

Artist

Edward Hopper

Title

Nighthawks

Place

United States (Artist's nationality:)

1942

Medium

Oil on canvas

Inscriptions

signed l.r. "Edward Hopper"

Dimensions

84.1 × 152.4 cm (33 1/8 × 60 in.)

Credit Line

Friends of American Art Collection

Reference Number

1942.51

Extended information about this artwork

Gail Levin, "Edward Hopper's Nighthawks, Surrealism, and the War," Art Institute of Chicago Museum Studies 22, 2 (1996), 180-95, fig. 1.

The Art Institute of Chicago: Twentieth-Century Painting and Sculpture, selected by James N. Wood and Teri J. Edelstein (Chicago: Art Institute of Chicago, 1996), 85, ill.

Judith A. Barter et al., American Modernism at the Art Institute of Chicago, From World War I to 1955 (Chicago: Art Institute of Chicago/Yale University Press, 2009), no. 133.

Nina Baym et al., eds., The Norton Anthology of American Literature, 8th edition (W. W. Norton & Company, 2012), ill.

Arthur Shimamura, Experiencing Art: In the Brain of the Beholder (Oxford University Press, 2013), 237 (ill.).

Derek Matravers, Introducing Philosophy of Art: In Eight Case Studies (Routledge, 2013), ill.

Duane Preble Emeritus et al., Prebles' Artforms, 11th edition (Pearson, 2013), 428, ill.

Robert Burleigh, Edward Hopper Paints His World (Henry Holt and Co., 2014), ill.

Steven Mintz, The Prime of Life: A History of Modern Adulthood (Belknap Press, 2015), ill.

Ramsay H. Slugg, Handbook of Practical Planning for Art Collectors and Their Advisors (ABA Book Publishing, 2015), ill.

Judith A. Barter, ed. America After the Fall: Painting in the 1930s, exh. cat. (Chicago: Art Institute of Chicago/Yale University Press, 2016), fig. 3, 178.

Paintings at the Art Institute of Chicago, Highlights of the Collection (Chicago: Art Institute of Chicago/Yale University Press, 2017), 135.

Judith A. Barter, "Prolog: Eine neue Welt der Kunst" and Susanne Scharf, "Bilder von Amerika: Edward Hoppers Äesthetisierung des Alltäglichen," in Es war einmal in Amerika - 300 Jahre US-amerikanische Kunst [Once Upon a Time in America: Three Centuries of American Art], eds. Barbara Schaefer and Anita Hachmann (Cologne: Wallraf-Richartz-Museum & Fondation Corboud/Wienand Verlag, 2018), 25, fig. 12 (ill.); 219, fig. 1 (ill.).

Charles Passy, "Edward Hopper's 'Nighthawks' Gets 21st Century Makeover," The Wall Street Journal, Dec. 5, 2020, https://www.wsj.com/articles/edward-hoppers-nighthawks-gets-21st-century-makeover-11607184000.

"The Defining Artworks of 2020," ARTnews, Dec. 9, 2020, https://www.artnews.com/list/art-news/artists/most-important-artworks-2020-1234578712/edward-hopper-nighthawks-1942, ill.

Hall W. Rockefeller, "A Rehang of Hopper's Iconic 'Nighthawks' Changes the Game," Hyperallergic, Mar. 23, 2022, https://hyperallergic.com/718667/a-rehang-of-edward-hopper-iconic-nighthawks-changes-the-game (ill.).

Art Institute of Chicago, The Fifty-third Annual Exhibition of American Paintings and Sculpture, Oct. 29-Dec. 10, 1942, cat. 132.

Indianapolis, 1943.

Art Institute of Chicago, The Fifty-fourth Annual Exhibition of American Paintings and Sculpture, Oct. 28-Dec. 12, 1943, cat. 15.

New York City, Whitney Museum of American Art, Edward Hopper: Retrospective Exhibition, Feb. 11-Mar. 26, 1950, cat. 61, pl. 28; Museum of Fine Arts, Boston, Apr. 13-May 14, 1950; Detroit Institute of Arts, June 4-July 2, 1950.

New York City, Wildenstein, Loan Exhibition of Seventy Twentieth Century American Paintings, Feb. 21-Mar. 22, 1952, cat. 54.

Venice, Esposiazione Biennale Internazionale d'Arte, June 14-Oct. 19, 1952, cat. 26.

Art Institute of Chicago, Two Centuries of American Art, 1750-1950, Oct. 1, 1959-Jan. 10, 1960, no cat. [downloadable checklist available].

Lake Forest College, Illinois.

New York, Whitney Museum of American Art, Edward Hopper, Sept. 29-Nov. 29, 1964, cat. 43; Art Institute of Chicago, Dec. 18-Jan. 31, 1965.

Cleveland Museum of Art, Ohio, Fifty Years of Modern Art, June 14-July 31, 1966, cat. 81.

New York City, Whitney Museum of American Art, Edward Hopper: The Art and the Artist, Sept. 23, 1980-Jan. 18, 1981, cat. 386; London, Hayward Gallery, Feb. 11-Mar. 29, 1981 (separate catalogue, cat. 96), Amsterdam, Stedelijk Museum, Apr. 22-June 17, 1981; Düsseldorf, Städtische Kunsthalle, July 10-Sept. 6, 1981; Art Institute of Chicago, Oct. 3-Nov. 29, 1981; San Francisco Museum of Modern Art, Dec16, 1981-Feb. 14, 1982.

Essen, Germany, Museum Folkwang, Edward Hopper und die Fotografie: die Warheit des Sichtbaren (Edward Hopper and Photography: The Truth of the Real), June 28-Sept. 27, 1992, p. 63, ill.

London, Tate Modern, Edward Hopper, May 27-Sept. 5, 2004; Cologne, Museum Ludwig, Oct. 9, 2004-Jan. 9, 2005.

New York, Whitney Museum of American Art, Oct. 3-Dec. 31, 2006.

Boston, Museum of Fine Arts, Edward Hopper, May 6-Aug. 19, 2007; Washington, DC, National Gallery of Art, Sept. 16, 2007-Jan. 21, 2008; Art Institute of Chicago, Feb. 16-May 11, 2008.

Madrid, Museo Thyssen-Bornemisza, Edward Hopper, June 12-Sept. 16, 2012; Paris, Galeries nationales d'exposition du Grand Palais, Oct. 5, 2012-Jan. 28, 2013 (Paris only).

New York, Whitney Museum of American Art, Edward Hopper Drawings, May 23-Oct. 6, 2013; Dallas Museum of Art, Nov. 17, 2013-Feb. 16, 2014; Minneapolis, Walker Art Center, Mar. 15-June 22, 2014 (New York only).

Art Institute of Chicago, Art and Appetite: American Painting, Culture, and Cuisine, Nov. 10, 2013-Jan. 27, 2014, cat. 28; Fort Worth, Amon Carter Museum of American Art, Feb. 22-May 18, 2014.

Shanghai Museum, Pathways to Modernism: American Art, 1865-1945, Sept. 28, 2018-Jan. 6, 2019, cat. 71.

Edward Hopper (1882-1967), 1942; consigned to Frank Rehn Galleries, 1942; sold to the Art Institute of Chicago, 1942.

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Nighthawks | The Art Institute of Chicago

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1. Paul Cézanne

2. The Card Players

3. 1890

4. Oil on canvas

I personally like this art work because it tells a story by just looking at it and saves a moment.  i choose this piece of art because i can connect with is because it looks like a moment save on oil. it also looks like a picture from a party.

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1. Artist's name: Alexandre Cabanel

2. Title of artwork: Fallen Angel

3. Year it was created: 1847

4. Material/Medium: Oil on canvas

This painting shows the story of War in Heaven and of Lucifer being thrown out. I think it also tries to show his feelings about being thrown out of heaven because he has one tear but a revengeful look on his face. I like this painting because it is interesting to think about. The way Lucifer is depicted is weird as well. He is not shown as a monster, he is showed as a human with feelings.

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1. Artist's name: Edward Hopper

2. Title of artwork: Nighthawks

3. Year it was created: 1942

4. Material/Medium: Oil on canvas

I picked this painting because it is one of my favorites. It is really nice. I like the feeling of looking inside the all night dinner and noticing the small details of it. Like the salt and pepper shakers or the napkins. It is supposed to depict the loneliness of a big city and I think it does that perfectly.

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"Mère Grégoire" by artist Gustave Courbet is an oil painting on canvas and was created from 1855-1859.  The painting has a political subtext that represents a protest against government censorship and against the second empire. Courbet began the portrait after the government attacked the songs of the popular writer Pierre-Jean Béranger who sang a popular song in 1820 that inspired "Mère Grégoire". I chose this artwork because of the subject the portrait represent: the embodiment of rights to freedom in life and love that were forbidden under a repressive regime.

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Show this image

Mère Grégoire

Date:

1855 and 1857/59

Artist:

Gustave Courbet
French, 1819-1877

About this artwork

As the undisputed leader of the Realist movement, Gustave Courbet played a crucial role in the development of modern French painting. But critics and the public did not easily accept his large, naturalistic, and unsentimental depictions of commonplace, often rural subjects; they called him the "apostle of ugliness."

The ample, demurely dressed subject of Mère Grégoire was inspired by the heroine of a popular song written in the 1820s by French lyricist Pierre-Jean Béranger. Béranger often penned ribald lyrics; his "Madame Grégoire" was the proprietor of a house of prostitution. Courbet depicted the woman here in the midst of a transaction, with coins scattered on a marble-topped counter and a ledger beneath her right hand. Under her other hand is the small bell she uses to summon one of her female employees. She presumably offers an unseen customer a flower, a symbol of love.

The painting may also have had a political subtext. Béranger and Courbet were fierce opponents of the monarchy and the Second Empire, respectively. In the mid-1850s, when Courbet began his portrait of Mère Grégoire, the government harshly attacked the songs of the popular writer as part of an effort to restrict free expression. Courbet's decision to portray Béranger's Madame Grégoire, whose flower exhibits the blue, white, and red of the French flag, may represent a protest not only against government censorship but also against the Second Empire itself, making the subject of this painting into a heroine embodying the rights to freedom in life and love that were forbidden under a repressive regime.

Status

On View, Gallery 222

Department

Painting and Sculpture of Europe

Artist

Gustave Courbet

Title

Mère Grégoire

Place

France (Artist's nationality)

Date

1855-1859

Medium

Oil on canvas

Inscriptions

Inscribed, lower left, on counter: G. C.

Dimensions

129 × 97.5 cm (50 3/4 × 38 3/8 in.)

Credit Line

Wilson L. Mead Fund

Reference Number

1930.78

IIIF Manifest

https://api.artic.edu/api/v1/artworks/4428/manifest.json

Extended information about this artwork

Théophile Silvestre, Histoire des artistes vivants français et étrangers: Études d'après nature (Paris: E. Blanchard, 1857), pp. 273, 278.

Zacharie Astruc, Les 14 stations du salon de 1859: suivies d'un récit douloureux (Paris: Poulet-Malassis et De Broise, 1859), pp. 392-93.

Théophile Silvestre, Les artistes français: Études d'après nature (Brussels: Office de Publicité, 1861), p. 68.

Alexandre Schanne, Souvenirs de Schaunard (Paris: Charpentier, 1887), pp. 295-96.

Alexandre Estignard, Courbet: sa vie, ses oeuvres (Besançon: Delagrange-Louys, 1896), p. 181.

Georges Riat, Gustave Courbet: peintre, Les Maîtres de l'art moderne (Paris: H. Floury, 1906), pp. 54, 173, 254, 333, 366.

Charles Léger, Courbet, selon les caricatures et les images (Paris: P. Rosenberg, 1920), p. 69.

Marc Elder, À Giverny chez Claude Monet (Paris: Bernheim-Jeune, 1924), p. 28.

Charles Léger, Courbet, Maîtres d'autrefois (Paris: G. Crès et cie, 1929), pp. 41-42.

Creative Art, 6, 1 (1930), p. 17 (ill.).

Daniel Catton Rich, "'Mère Grégoire' by Courbet," Bulletin of the Art Institute of Chicago 24, 4 (1930), cover (ill.), pp. 42-43.

"Chicago Obtains Courbet's Mère Grégoire," The Art Digest 4, 14 (1930), pp. 5 (ill.), 6.

Katherine Grant Sterne, "Recent Museum Acquisitions," Parnassus 2, 5 (1930), p. 36 (ill.).

Marie Elbé, "Le scandale Courbet," Documents. Archéologie, Beaux-Arts, Ethnographie, Variétés, 4 (1930), pp. 232-33 (ill.).

Art Institute of Chicago, "Report for the Year Nineteen Hundred Thirty," Bulletin of the Art Institute of Chicago 25, 4 (1931), pp. 32 (ill.), 44.

Charles Léger, "À la découverte des œuvres de Courbet," L'Amour de l'art 12, 10 (1931), p. 399.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), pp. 49 (ill.), 148.

James O'Donnell Bennet, "Roto Depicts Work by Son of Great Artist," Chicago Daily Tribune (April 3, 1932), p. G5.

Clarence J. Bulliet, Art Masterpieces in a Century of Progress Fine Arts Exhibition at the Art Institute of Chicago (Chicago: North-Mariano Press, 1933), no. 30 (ill.).

Daniel Catton Rich, "The Exhibition of French Art, Art Institute of Chicago," Formes 33 (1933), p. 382 (ill.).

James O'Donnell Bennett, "Art Treasure Shows Vision of Round Earth," Chicago Daily Tribune (September 10, 1933), p. 9.

James O'Donnell Bennett, "Renoir Gallery in Art Exhibit Worth a Million: Many French Masters of 19th Century Shown," Chicago Daily Tribune (June 3, 1934), p. 15.

Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago: Art Institute of Chicago, 1935), p. 26 (ill.), 27.

Art Institute of Chicago, A Brief Illustrated Guide to the Collections of the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1941), pp. 32-33.

Lionello Venturi, Peintres Modernes (Paris: Albin Michel, 1941), pp. 222-23, fig. 148.

Edith Weigle, "Notes of Art and Art Exhibits," Chicago Daily Tribune (January 5, 1941), p. F4.

Art Institute of Chicago, An Illustrated Guide to the Collections (Chicago: Art Institute of Chicago, 1945), pp. 34 (ill.), 35.

Lionello Venturi, Pittori Moderni (Florence: Edizioni U, 1946), pp. 157, 160-161, fig. 147.

Lionello Venturi, Modern Painters (New York: Scribner, 1947), pp. 214-16, fig. 149.

Hans Naef, Courbet (Berne: A. Scherz, 1947), pl. 31.

Pierre Courthion, Courbet raconté par lui-même et par ses amis, vol. 1 (Geneva: Pierre Cailler, 1948), p. 58.

Gerstle Mack, Gustave Courbet (New York: Knopf, 1951), pp. 59-61, 298, pl. 28.

Aline B. Loucheim, "A New Yorker Visits the Art Institute of Chicago," The Art Institute of Chicago Quarterly 46, 2 (1952), pp. 23, 40 (ill.).

Art Institute of Chicago, A Brief Guide to the Collections (Chicago: Art Institute of Chicago, 1956), pp. 32 (ill.), 33.

Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), pp. 107, 242 (ill.).

John W. McCoubrey, American Tradition in Painting (New York: George Braziller, 1963), pp. 37-38, pl. 37; revised edition (Philadelphia: University of Pennsylvania Press, 2000), pp. 34-35, pl. 37.

Bruce K. MacDonald, "The Quarry by Gustave Courbet," Bulletin of the Museum of Fine Arts, Boston 67, 348 (1969), p. 69, n. 17.

M.-G. de La Coste-Messelière, "Un jeune prince amateur d'impressionnistes et chauffeur," L'Œil 179 (1969), p. 19.

Robert Fernier, Gustave Courbet: peintre de l'art vivant (Paris: La Bibliothèque des arts, 1969), pp. 82-83, no. 75 (ill.). séance

John Maxon, The Art Institute of Chicago (New York: H. N. Abrams, 1970; repr. 1977), pp. 74 (ill.), 75.

André Fermigier, Courbet (Geneva: Skira, 1971), pp. 31, 34, 69, 71 (ill.).

Jack Lindsay, Gustave Courbet: His Life and Art (New York: Harper & Row, 1973), pp. 43-44.

Alexandre Schanne, "Courbet's Entourage," in Petra Ten-Doesschate Chu, Courbet in Perspective (Englewood Cliffs, New Jersey: Prentice-Hall, 1977), pp. 27-28, fig. 16.

Robert Fernier, La vie et l'œuvre de Gustave Courbet: catalogue raisonné, vol. 1 (Lausanne: Bibliothèque des arts, 1977), pp. 104-105, cat. 167 (ill.).

Art Institute of Chicago, The Art Institute of Chicago: 100 Masterpieces (Chicago: Art Institute of Chicago, 1978), p. 82, no. 40 (ill.).

John D. Morse, Old Master Paintings in North America (New York: Abbeville Press, 1979), p. 70.

Hélène Toussaint, "Le réalisme de Courbet au service de la satire politique et de la propagande gouvernementale," Bulletin de la Société de l'Histoire de l'art français (1979), pp. 233-34 (ill.), 235-39.

Robert L. Herbert, "Courbet's Mère Grégoire and Béranger," Malerei und Theorie das Courbet-Colloquium 1979 (Frankfurt am Main: Städtische Galerie im Städelschen Kunstinstitut, 1980), pp. 75-89.

Hélène Toussaint, "Le realism de Courbet au service de la satire politique et de la propaganda gouvernementale," Bulletin de la Société de l'Histoire de l'Art français, 1979 (1981), pp. 233, fig. 1.

Pierre Courthion, L'opera completa di Courbet (Milan: Rizzoli, 1985), p. 82, no. 162, ill.

Richard R. Brettell, French Salon Artists, 1800-1900 (Chicago: Art Institute of Chicago, 1987), pp. 30 (ill.), 31, 117.

Robert L. Herbert, "Courbet's Mère Grégoire and Béranger," Art Institute of Chicago Museum Studies 13, 1 (1987), pp. 25-26, 27-35, figs. 1-3, 5.

James N. Wood and Katharine C. Lee, Master Paintings in the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1988), pp. 53 (ill.), 166.

Klaus Herding, "Courbet Reconsidered. Brooklyn and Minneapolis," Burlington Magazine 131 (1989), p. 244.

Sarah Faunce, Gustave Courbet (New York: Harry N. Abrams, 1993), pp. 80-81, no. 17 (ill.).

André Fermigier, Courbet (Geneva: Skira, 1994), p. 58, 118.

Pierre Courthion, Tout l'œuvre peint de Courbet (Paris: Flammarion, 1987; repr. 1995), p. 82, cat. 162 (ill.).

Petra Ten-Doesschate Chu, Correspondance de Courbet (Paris: Flammarion, 1996), p. 439, letter 73-28; p. 462, letter 74-3.

James H. Rubin, Courbet (London: Phaidon, 1997), pp. 181, fig. 109.

"Gustave Courbet - La Mère Grégoire" in Therese Southgate, The Art of JAMA: One Hundred Covers and Essays from the Journal of the American Medical Association (St. Louis: Mosby, 1997), pp. 142-43 (ill.), 211-12.

Robert L. Herbert, From Millet to Léger (New Haven and London: Yale University Press, 2002), pp. 67-78, figs. 24, 26.

Valérie Bajou, Courbet (Paris: A. Biro, 2003), pp. 319, 320 (ill.), 418 n. 45.

Ségolène Le Men, Courbet, (Paris: Citadelles & Mazenod, 2007), pp. 11, 112, 116, 294, 350, 363, fig. 90; translated (New York and London: Abbeville Press Publishers, 2008).

Musée d'Orsay, Splendeurs & misères, Images de la prostitution, 1850-1910, publisher Flammarion, Paris (Septembre 2015). Cette exposition a étè organisée par le musée d'Orsay, Paris et le Van Gogh Museum, Amsterdam, front cover detail, [232] p.249: Toulouse-Lautrec, At the Moulin Rouge (1928.610), [61] p.109:Toulouse-Lautrec, Moulin de la Galette (1933.458), and [100] p. 138-139 Courbet, Mérè Grégoire (1930.78).

Van Gogh Museum in Collaboration with Musée d'Orsay, Easy Virtue. Prostitution in French Art, 1850-1910 (2016) p. 43 - Toulouse-Lautre, Moulin de la Galette (1933.458) [24] , p. 94 - Courbet, Mèré Grégoire (1930.78) [75].

Marco Goldin, ed., Storie dell'Impressionismo: I grandi protagonist da Monet a Renoir da Van Gogh a Gauguin (Linea d'ombre, 2016), 32 (color ill.), 233-234 (color ill.), 390-91 cat. 7.

Paris, Rond-Point de l'Alma, Exposition des œuvres de M. G. Courbet, 1867, cat. 96.

Saint-Petersburg, Exposition centennale de l'art français à Saint-Petersbourg, 1912, cat. 347.

Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 237.

Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1-November 1, 1934, cat. 176.

Hartford, Connecticut, Wadsworth Atheneum, 43 Portraits, January 26-February 10, 1937, cat. 37.

Toledo Museum of Art, The Spirit of Modern France: An Essay on Painting in Society, 1745-1946, November-December 1946, cat. 26; traveled to Toronto, Art Gallery of Ontario, January-February 1947.

Paris, Galeries Nationales du Grand Palais, Gustave Courbet (1819-1877), September 30, 1977-January 2, 1978, cat. 45; traveled to London, Royal Academy of Art, January 18-March 19, 1978, cat. 43.

Chicago, Art Institute of Chicago, European Portraits, 1600-1900 in the Art Institute of Chicago, July 8-September 11, 1978, cat. 16.

New York, Brooklyn Museum, Courbet Reconsidered, November 4, 1988-January 16, 1989, cat. 29; Minneapolis Institute of Arts, February 18-April 30, 1989.

Munich, Haus der Kunst, Corot, Courbet und die Maler von Barbizon: Les amis de la nature, cat. B 34, February 2-April 21, 1996.

Paris, Galeries Nationales du Grand Palais, Gustave Courbet, October 13, 2007-January 28, 2008, cat. 39; traveled to New York, Metropolitan Museum of Art, February 27-May 18, 2008; Montpellier, Musée Fabre, June 14-September 28, 2008.

Paris, Musée d'Orsay, Splendour and Misery, Images of prostitution in France, 1850-1910 < Splendeurs & misères, Images de la prostitution, 1850-1910> September 21, 2015-June 19, 2016; Amsterdam, Van Gogh Museum, same exhibition but title " Easy Virtue. Prostitution in French Art, 1850-1910, February 19, 2016-June 19, 2016.

Treviso, Museo di Santa Caterina, Storie dell'Impressionismo, October 29, 2016-April 17, 2017, cat. 7.

Possession of the artist [for this and the following until 1873 see Riat 1906 and Fernier 1977]; stolen between 1872-73; found by Étienne Baudry at an art dealer in Paris, 1873. Galerie Barbzanges, Paris, by 1912 [lent to Saint Petersburg 1912]. Possibly Alexandre Louis Philippe Marie Berthier, 4th Prince of Wagram (died 1918), Paris [according to Art Institute of Chicago 1961 and Fernier 1977]; possibly at his death to his sister, Elisabeth de la Tour d'Auvergne (née Elisabeth Bertier de Wagram), Paris (according to Art Institute of Chicago 1961 and Fernier 1977). Alex Reid & Lefèvre, Ltd., London, by 1929 [according to the receipt of sale to the Art Institute, dated November 20, 1929]; purchased by the Art Institute, 1929; accessioned 1930.

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Mère Grégoire | The Art Institute of Chicago

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Show this image Mère Grégoire 1855 and 1857/59 Gustave CourbetFrench, 1819-1877 As the undisputed leader of the Realist movement, Gustave Courbet played a crucial role in the development of modern French painting. But critics and the public did not easily accept his large, naturalistic, and unsentimental depictions of commonplace, often rural subjects; they called him the "apostle of ugliness."

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The oil painting on canvas, "Self-Portrait of My Sister" by artists Gertrude Abercrombie, was created in 1941. Although the title mentions " my sister," there was no sister due to the artist being an only child. The point of Abercrombie's portrait was to reference a fictitious, prettier sister to "hint at her desire to be a different person." The painting is also self-refrential as she exaggerates and idealized her appearance. The artists claims "It's always myself that I paint, but not actually because I don't look that good or cute." I chose this artwork because the mysterious background caught my attention as it sets a different meaning from the young women portrayed. I relate to the artists purpose. While creating certain art, I would use different contexts to change something unrealistic to feel realistic.

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Self-Portrait of My Sister

Date:

1941

Artist:

Gertrude Abercrombie
American, 1909-1977

Related

Related

About this artwork

At first glance, Self-Portrait of My Sister appears to be a relatively straightforward representation of a young woman. It was painted by the Chicago Surrealist Gertrude Abercrombie but seems to lack the mysterious imagery of her landscapes and interior scenes. Further examination, however, reveals subtle touches of her dark aesthetic, beginning with the title itself. Self-Portrait of My Sister is an enigmatic reference to a sister who did not exist, for the artist was in fact an only child. However, Abercrombie initially referred to this painting as "Portrait of Artist as Ideal," a phrase that reveals her underlying meaning. Abercrombie's work was invariably self-referential; as she put it, "It's always myself that I paint, but not actually, because I don't look that good or cute." Her reference to a fictitious, prettier sister hints at her desire to be a different person, a longing she satisfied through self-portraiture.

Here, the artist exaggerated and idealized her appearance, depicting herself with an extraordinarily long, slender neck; vivid blue eyes; and sharpened features. She portrayed herself wearing black gloves and a flat-brimmed hat trimmed with a bunch of grapes, all motifs that recurred with some frequency in her paintings and acted as symbols of her presence. Such inclusions helped shape her individual variant of Surrealism, which she felt was based in realism. "Surrealism is meant for me," she remarked, "because I am a pretty realistic person but don't like all I see. So I dream that it is changed. Then I change it to the way I want it. It is almost always pretty real. Only mystery and fantasy have been added. All foolishness has been taken out. It becomes my own dream."

Status

On View, Gallery 262

Department

Arts of the Americas

Artist

Gertrude Abercrombie

Title

Self-Portrait of My Sister

Place

United States (Artist's nationality)

Date

1941

Medium

Oil on canvas

Dimensions

68.6 × 55.9 cm (27 × 22 in.)

Credit Line

Gift of Powell and Barbara Bridges

Reference Number

2009.59

Extended information about this artwork

Publication History

Annual Report (Art Institute of Chicago, 2008-09), 16.

Paintings at the Art Institute of Chicago: Highlights of the Collection, (Chicago: Art Institute of Chicago/Yale University Press, 2017) 133.

Exhibition History

Art Institute of Chicago, 52nd Annual Exhibition of American Paintings and Sculpture, Oct. 30, 1941-Jan. 4, 1942, cat. 1.

New York, Associated American Artist Galleries, First Exhibition of Paintings by Gertrude Abercrombie, Jan. 24-Feb. 6, 1949, cat. 9.

Athens, Ohio University, 1947.

Chicago Public Library, Art Room, 1948.

Chicago, Mandel Brothers Gallery, Exhibition of Chicago Artists' Self Portraits, 1953.

Chicago, Newman Brown Gallery, Gertrude Abercrombie, 1953.

Aurora, Illinois, John Fordon Gallery, Gertrude Abercrombie, 1953.

Chicago, Hyde Park Art Center, Gertrude Abercrombie: a Retrospective Exhibition, 1977, as Self-Portrait, cat. 25.

Chicago and Springfield, Illinois State Museum, Gertrude Abercrombie, 1991.

Chicago and Springfield, Illinois State Museum, Chicago Painting, 1895-1945, the Bridges Collection, 2000-01, cat. 1.

Chicago, Terra Museum of American Art, Chicago Modern, 1893-1945: Pursuit of the New, July 17-Oct. 31, 2004, cat. 1.

Madison, Wisconsin, Elvehjem Museum of Art, With Friends-Six Magic Realists, June 18-Aug. 28, 2005.

Pennsylvania Academy of the Fine Arts, Art In Chicago - Resisting Regionalism, Transforming Modernsim, Feb. 9-Apr. 2, 2006, cat. 17.

Springfield, Illinois State Museum, Chicago Painting, 1895-1945, the Bridges Collection, 2007-08.

Los Angeles County Museum of Art, In Wonderland: The Surrealist Activities of Women Artists in Mexico and the United States, Jan. 29-May 6, 2012; Musee National des Beaux-Arts du Quebec, Jun 7-Sep 3, 2012; Mexico City, Museo de Arte Moderno, Sep 27, 2012-Jan 13, 2013, cat. 24.

Chicago, Newberry Library, Chicago Avant-Garde, Sept. 10-Dec. 30, 2021, cat. (ill. fig. 31).

Provenance

Gertrude Abercrombie, until 1976; Scott Elliott and Gordon Cameron, Kelmscott Gallery, Chicago, 1976-94; Robert Henry Adams Fine Art, Chicago, 1994; Powell and Barbara Bridges, Wilmette, IL, 1994; given to the Art Institute of Chicago, 2009.

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Self-Portrait of My Sister | The Art Institute of Chicago

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Show this image Self-Portrait of My Sister 1941 Gertrude AbercrombieAmerican, 1909-1977 Related Related At first glance, Self-Portrait of My Sister appears to be a relatively straightforward representation of a young woman. It was painted by the Chicago Surrealist Gertrude Abercrombie but seems to lack the mysterious imagery of her landscapes and interior scenes.

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For the category of art for the sake of beauty, my first instinct was to choose an art piece that represented a landscape. To me, what makes this image beautiful is the feeling of peacefulness and serenity that it invokes. When I read the synopsis of the painting it detailed the background history of niagra falls and how industrialism took its toll on the beauty of the scene. I chose this picture to admire how the world once was before there were buildings and highways. The breathtaking waterfalls, the seasonal colors every couple of months, and the wildlife that would roam around without the fear of humans invading their habitat. It's the naturalism of the depiction of the landscape that I find beauty in.

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When I first glanced at this photo, I interpreted it in three words. Carnage, chaos, and mayhem. However, after a few seconds of looking at it, and then looking at the title, I realised that it represented something more grand. It's said that the artist's intent was to highlight the mistreatment and torture of jewish people in the early 20th century. The bold decision to put Jesus Christ at the center of this painting is what made the message stand out to me.

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Recently, I've had the privilege of celebrating my mother's 50th birthday in Bongouanou, Cote d'Ivoire at my grandmother's house. The experience was lovely and the environment of the household and the neighborhood was so serene and peaceful. When I look at this painting, I see images of people of African descent relaxing in a homey environment. This was what it was like at my grandma's house with all my uncles, aunties, and cousins. This is why I chose this painting as something that spoke to me personally.

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The oil painting on canvas, "Inventions of the Monsters" by Salvador Dali is a surreal piece created in 1937. The painting expresses threats of danger and symbolizes the inevitability of death. This artwork is my personal taste due to surrealism being the category I admire the most. What caught my attention the most was the eerie scenery. The viewer can see a cat angel, a giraffe on fire, horse women, an hourglass, and butterflies that all have an initial meaning to its monster. I do not personally strongly relate to this artwork, however, my perceptions of the feeling and the visuals of death relates to the way I can relate the works meaning to my meaning of monsters and death.

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Inventions of the Monsters

Date:

1937

Artist:

Salvador Dalí
Spanish, 1904-1989

About this artwork

Salvador Dalí, Surrealism's most publicized practitioner, created monstrous visions of a world turned inside out, which he made even more compelling through his extraordinary technical skills. When the Art Institute acquired Inventions of the Monsters in 1943, the artist wrote his congratulations and explained:

"According to Nostradamus the apparition of monsters presages the outbreak of war. The canvas was painted in the Semmering mountains near Vienna a few months before the Anschluss [the 1938 political union of Austria and Germany] and has a prophetic character. Horse women equal maternal river monsters. Flaming giraffe equals masculine apocalyptic monster. Cat angel equals divine heterosexual monster. Hourglass equals metaphysical monster. Gala and Dalí equal sentimental monster. The little blue dog is not a true monster."

Inventions of the Monsters has an ominous mood. It is rife with threats of danger, from the menacing fire in the distance to the sibylline figure in the foreground with an hourglass and a butterfly, both symbols of the inevitability of death. Next to this figure sit Dalí and his wife and muse, Gala. With his native Catalonia embroiled in the Spanish Civil War, the artist surely felt great anxiety over a world without a safe haven, a world that indeed had allowed for the invention of monsters.

Status

On View, Gallery 396

Department

Modern Art

Artist

Salvador Dalí

Title

Inventions of the Monsters

Place

Spain (Artist's nationality)

Date

1937

Medium

Oil on canvas

Inscriptions

none

Dimensions

51.4 × 78.4 cm (20 1/4 × 30 7/8 in.)

Credit Line

Joseph Winterbotham Collection

Reference Number

1943.798

Copyright

© Salvador Dalí, Fundació Gala-Salvador Dalí / Artists Rights Society (ARS), New York, 2018

Extended information about this artwork

Publication History

"Dalí's Heterosexual Monster Invades Chicago," Art Digest 18 (October. 1943), p.13.

James Thrall Soby and Museum of Modern Art, Salvador Dalí (New York, 1946) pp. 21, 23, 62 (ill.).

Juan Antonio Nuño, Salvador Dalí. Con cuartro ilustraciones en color y cuarenta y ocho en negro (Barcelona, 1950), fig. 27.

"Salvador Dalí. Die Erfindung der Ungeheuer." Du 11 (November 1952), p.34.

Catalog of Works by Salvador Dalí in Public Museum Collections (Cleveland, 1956 ), p. 41 (ill.).

Art Institute, El Mundo de los Museos: Instituto de arte de Chicago: presentación de Charles C. Cunningham (Buenos Aires, 1967), p. 15 (ill.) fig. 71, and pp. 75, 76-7 (ill.) as Inventos de los monstruos.

Harvard H. Arnason, History of Modern Art (New York, 1968), no. 163.

Salvador Dalí. A Guide to His Works in Public Museums (Cleveland, 1974) p.44 (ill.).

Robert Descarnes, Salvador Dalí, The Library of Great Painters (New York, 1976), p. 121 (ill.).

Dalí. La obra y la personalidad de un opintor en tantos aspectos desconcertante (Barcelona, 1980), no. 19.

Robert Descarnes, Salvador Dalí: The Work, the Man (New York, 1984), p. 213 (ill).

Wieland Schmied, Salvador Dalí. Das Rätsel der Begierde (Munich, 1991), fig. 11.

Robert Descharnes and Gilles Néret, Salvador Dalí 1904-1989. Das Malerische Werk, vol. 1 (Cologne, 1993), p. 292 (ill).

Art Institute, The Art Institute of Chicago Museum Studies: The Joseph Winterbotham Collection, 20, no. 2 (1994), p. 169 (ill.).

Fiona Bradley, "Doubling and Dédoublement: Gala in Dalí," Art History 17, no. 4 (December 1994), pp. 612-30, 618 (ill).

Haim Finkelstein, Salvador Dalí's Art and Writing, 1927-1942 (Cambridge, 1996), fig. 75.

Ian Gibson, The Shameful Life of Salvador Dalí (London, 1997) p.376.

Exhibition History

Paris, Renou et Colle, July 6-30, 1937.

Hartford, Wadsworth Atheneum, Paintings in the Collection of Mr. and Mrs. James Thrall Soby, November 1940.

New York, Museum of Modern Art, Paintings, Drawings, Prints: Salvador Dalí, 1941, pp. 26, 28, 62, fig. 33.

Chicago, The Art Institute, The Winterbotham Collection, May 23-June 22, 1947, pp. 12-3 (ill.).

Denver, Art Museum, The Modern Artist and His World, March 6-April 27, 1949, p. 11 (ill.).

Dallas, Museum of Fine Arts, The Winterbotham Colleciton of 20tth Century Art, October. 8-November 6, 1949.

Minneapolis, Walker Art Center, Reality and Fantasy, 1900-1954, May 23-July 2, 1954, no. 44.

New York, Gallery of Modern Art, Salvador Dalí 1910-1965, December 18-February 28, 1966, no. 86.

Rotterdam, Museum Boymans-van Beuninge, Dalí, November 21, 1970-January 10, 1971, no. 56.

Baden-Baden, Staatliche Kunsthalle, Dalí. Gemälde, Zeichnungen, Objekte, Schmuck, January 29-April 18, 1971, no. 44.

Paris, Centre Georges Pompidou, Salvador Dalí. Retrospective, December 18, 1979-April 21, 1980, no. 249.

Stuttgart, Staatsgalerie, Salvador Dalí, May 12-July 23, 1989, no. 196; traveled to Zurich, Kunsthaus, August 18- October. 22, 1989, Louisiana, Museum of Modern Art, December 16, 1989-March 11, 1990, and Montreal, Museum of Fine Arts, April 13-July 29, 1990.

Tokyo, ASAHI Shimbun, Masterworks of Modern Art from The Art Institute of Chicago, no. 39, pp. 126-7 (ill.); traveled to Nagaoka, Niigata Prefectural Museum of Modern Art, April 20, 1994-May 29, 1995; Nagoya, Aichi Prefectural Museum of Art, June 10-July 24, 1994: Yokohama Museum of Art, August 6 1994-September 25, 1994.

Philadelphia Museum of Art, Salvador Dalí, February 6-May 15, 2005.

Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013-Feb. 16, 2014, no cat. no.

Provenance

Mr. and Mrs. James T. Soby, Farmington, CT, by 1940 [Hartford 1940]. Durlacher Brothers, New York, by 1943; sold to the Art Institute of Chicago, 1943.

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Inventions of the Monsters | The Art Institute of Chicago

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Show this image Inventions of the Monsters 1937 Salvador DalíSpanish, 1904-1989 Salvador Dalí, Surrealism's most publicized practitioner, created monstrous visions of a world turned inside out, which he made even more compelling through his extraordinary technical skills.

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Vincent Van Gogh // Irises // 1889/1890 // Oil on Canvas

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I chose this artwork among others because of the movement within the piece. Like many Van Gogh paintings, the painting style he uses expresses a lot of motion. To me, that is what makes a lot of art beautiful; producing paintings or art that seems to come to life with motion. The way I can relate to this piece is the scenery. I enjoy greenery and the irises in this painting really captured my eye.

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The School of Athens // Raffaello Sanzio // 1509 - 1511 // Fresco 

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This painting depicts philosophers Aristotle and Plato walking through a type of corridor, among other people. The depiction of two historical figures having a conversation is what really made me enjoy viewing this piece. What these two historical figures could be talking about is vast, and we are only left to wonder about the discourse.

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Impression, Sunrise // Claude Monet // 1872 // oil painting

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The subtleness of the look of color in this painting is grand. While the majority of paintings have popping color schemes; this paintings use of color works well in expressing the enterprise of this painting, the sunrise.

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Title: The Eruption of Vesuvius, Artist: Pierre-Jacques Volaire, Year: 1771, Medium: Oil on canvas.
I chose this piece for a philosophical reason because it depicts the eruption of Vesuvius, the ancient city that was destroyed from the volcano in 79CE, which is related to the excavations of Pompeii. Also, the painting gave an impact to European art and literature. in overall the piece itself caught my attention for it use of colors, using the red-orange to spotlight the whole painting.

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"Early Morning, Tarpon Springs" by George Inness done in 1892. Medium is oil painting. 

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While looking at pictures that match my beauty of aesthetic I would say this picture can symbolize a portion of what I see in beauty. The feeling of standing in a placement and just enjoying the fact you're present. Not only that but embracing the nature and what comes with it. I feel like I can envision myself their in that placement when I get my dream farm house with land. When I look at this art work I really see a different variety of emotions of that figure person standing there. That person can either be happy, sad, or just okay you really do not know.
I really did choose this art work because of how I can see myself in the future doing something similar.

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"Human Nature/Life Death" by Bruce Nauman done in 1983. The medium is neon tubing with clear glass tubing suspension frames. 

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I am very fond of this type of art piece because it shows a deep and broader meaning of life overall and what is included within. Nauman uses life and death, love and hate, and pleasure and pain surrounding outside and then uses  human, animal, and nature in the center. What made me so wow about this art was it reminded me of a saying I go by which is said by Steve Jobs saying "If today were the last day of my life, would I want to do what I am about to do today?" When I first heard that quote it very deeply impacted me to want to do and change what I do and don't like in my life. In my opinion I really see this art piece portraing this art.