# data[].attributes.headline
Βρετανικό Μουσείο, Αττικό Πάρκο, Ζωολογικός της Ατλάντα

# data[].attributes.subject
Βρετανικό Μουσείο, Αττικό Πάρκο, Ζωολογικός της Ατλάντα

# data[].attributes.body
Μουσείο https://britishmuseum.withgoogle.com/?fbclid=IwAR2cGfA4c8-vOLEIAPh5KwMylFxk886M7lw3EguhIiVKKHeZ4qnDg-fvlyY

Ζωολογικός Κήπος:https://zooatlanta.org/panda-cam/ https://www.atticapark.com/el/animals/category/thhlastika.21.htm

# data[].attributes.body
Μουσείο: https://artsandculture.google.com/partner/moma-the-museum-of-modern-art?fbclid=IwAR2BfP2bKheixZcngBd5fVHof4ykMFe-Dv47nU-brhiwPWKB010mi4_Spu0

Ζωολογικός Κήπος:https://www.georgiaaquarium.org/webcam/jelly-webcam/

# data[].attributes.headline
Εθνική Πινακοθήκη της Washington Αττικό Πάρκο Χιούστον Ζωολογικός

# data[].attributes.subject
Εθνική Πινακοθήκη της Washington Αττικό Πάρκο Χιούστον Ζωολογικός

# data[].attributes.body
https://artsandculture.google.com/partner/national-gallery-of-art-washington-dc?hl=en&fbclid=IwAR1c1botiLAv8Dly3CiwS_R3OYFkfFkoNYC5beXOcgzL9WQ7uTFPPE0JdnI

Ζωολογικός Κήπος: https://www.houstonzoo.org/explore/webcams/flamingo-cam/

https://www.atticapark.com/el/animals/category/thhlastika.21.html

# data[].attributes.headline
Λούβρο, Παρίσι, Ενυδρείο Monterey

# data[].attributes.subject
Λούβρο, Παρίσι, Ενυδρείο Monterey

# data[].attributes.body
Μουσείο:https://www.louvre.fr/en/online-tours

Ζωολογικός Κήπος https://www.montereybayaquarium.org/animals/live-cams

# data[].attributes.headline
Μουσείο D' Orsay Παρίσι, Αττικό Πάρκο, Ενυδρείο Monterey

# data[].attributes.subject
Μουσείο D' Orsay Παρίσι, Αττικό Πάρκο, Ενυδρείο Monterey

# data[].attributes.body
Μουσείο: https://artsandculture.google.com/partner/musee-dorsay-paris?hl=en&fbclid=IwAR1GRkutXYRgEBgw4qI7ulylAxqfgyLkZVPZg-_6ktPo-ZzWfDgZaEW5lC4

Ζωολογικός Κήπος: https://www.montereybayaquarium.org/animals/live-cams

https://www.atticapark.com/el/animals/category/thhlastika.21.htm

# data[].attributes.attachment_link.keywords[]
Boats and boating--Equipment and supplies

# data[].attributes.attachment_link.title
The Olive Trees - Vincent van Gogh - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

# data[].attributes.attachment_link.readable_text
This painting features three distinct zones: a still life of fruit in the foreground, a row of three blue goblets and apples diagonally bisecting the canvas, and three puppies drinking from a large pan. The incongruous scale and placement of these objects on a dramatically upturned tabletop results in a disorienting composition.

When Gauguin painted Still Life with Three Puppies, he was living in Brittany among a group of experimental painters, including Emile Bernard. He abandoned naturalistic depictions and colors, declaring that "art is an abstraction" to be derived "from nature while dreaming before it." The puppies' bodies, for example, are outlined in bold blue, and the patterning of their coats mirrors the botanic print of the tablecloth. It is thought that Gauguin drew stylistic inspiration for this painting from Japanese prints, which were introduced to him by his friend and fellow artist Vincent van Gogh that same year, and from children's book illustrations.

# data[].attributes.attachment_link.title
Still Life with Three Puppies - Paul Gauguin - Google Arts & Culture

# data[].attributes.attachment_link.description
This painting features three distinct zones: a still life of fruit in the foreground, a row of three blue goblets and apples diagonally bisecting the canvas, and three puppies drinking from a large pan. The incongruous scale and placement of these objects on a dramatically upturned tabletop results in a disorienting composition.

# data[].attributes.attachment_link.title
Composition of Circles and Overlapping Angles - Sophie Taeuber-Arp - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

# data[].attributes.attachment_link.readable_text
Like Rembrandt and Goya, Vincent van Gogh often used himself as a model; he produced over forty-three self-portraits, paintings or drawings in ten years. Like the old masters, he observed himself critically in a mirror. Painting oneself is not an innocuous act: it is a questioning which often leads to an identity crisis.

Thus he wrote to his sister: "I am looking for a deeper likeness than that obtained by a photographer." And later to his brother: "People say, and I am willing to believe it, that it is hard to know yourself. But it is not easy to paint yourself, either. The portraits painted by Rembrandt are more than a view of nature, they are more like a revelation".

In this head-and- shoulders view, the artist is wearing a suit and not the pea jacket he usually worked in. Attention is focused on the face. His features are hard and emaciated, his green-rimmed eyes seem intransigent and anxious. The dominant colour, a mix of absinth green and pale turquoise finds a counterpoint in its complementary colour, the fiery orange of the beard and hair. The model's immobility contrasts with the undulating hair and beard, echoed and amplified in the hallucinatory arabesques of the background.

# data[].attributes.attachment_link.title
Self-Portrait - Vincent van Gogh - Google Arts & Culture

# data[].attributes.attachment_link.description
Like Rembrandt and Goya, Vincent van Gogh often used himself as a model; he produced over forty-three self-portraits, paintings or drawings in ten years. Like the old masters, he observed himself critically in a mirror. Painting oneself is not an innocuous act: it is a questioning which often leads to an identity crisis.

# data[].attributes.attachment_link.readable_text
This painting is doubtless Renoir's most important work of the mid 1870's and was shown at the Impressionist exhibition in 1877. Though some of his friends appear in the picture, Renoir's main aim was to convey the vivacious and joyful atmosphere of this popular dance garden on the Butte Montmartre. The study of the moving crowd, bathed in natural and artificial light, is handled using vibrant, brightly coloured brushstrokes. The somewhat blurred impression of the scene prompted negative reactions from contemporary critics.

This portrayal of popular Parisian life, with its innovative style and imposing format, a sign of Renoir's artistic ambition, is one of the masterpieces of early Impressionism.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

# data[].attributes.attachment_link.title
Dance at Le Moulin de la Galette - Auguste Renoir - Google Arts & Culture

# data[].attributes.attachment_link.description
This painting is doubtless Renoir's most important work of the mid 1870's and was shown at the Impressionist exhibition in 1877. Though some of his friends...

# data[].attributes.attachment_link.readable_text
From the moment of his arrival in Arles, on 8 February 1888, Van Gogh was constantly preoccupied with the representation of "night effects".
In April 1888, he wrote to his brother Theo: "I need a starry night with cypresses or maybe above a field of ripe wheat." In June, he confided to the painter Emile Bernard: "But when shall I ever paint the Starry Sky, this painting that keeps haunting me" and, in September, in a letter to his sister, he evoked the same subject: "Often it seems to me night is even more richly coloured than day". During the same month of September, he finally realised his obsessive project.

He first painted a corner of nocturnal sky in Cafe Terrace on the Place du Forum, Arles (Otterlo, Rijksmuseum Kröller-Muller). Next came this view of the Rhône in which he marvellously transcribed the colours he perceived in the dark. Blues prevail: Prussian blue, ultramarine and cobalt. The city gas lights glimmer an intense orange and are reflected in the water.

The stars sparkle like gemstones.A few months later, just after being confined to a mental institution, Van Gogh painted another version of the same subject: Starry Night (New York, MoMA), in which the violence of his troubled psyche is fully expressed. Trees are shaped like flames while the sky and stars whirl in a cosmic vision. The Musée d'Orsay's Starry Night is more serene, an atmosphere reinforced by the presence of a couple of lovers at the bottom of the canvas.

# data[].attributes.attachment_link.title
Starry Night - Vincent van Gogh - Google Arts & Culture

# data[].attributes.attachment_link.description
From the moment of his arrival in Arles, on 8 February 1888, Van Gogh was constantly preoccupied with the representation of "night effects". In April 1888,...