# data[].attributes.body
http://www.universalleonardo.org/work.php?id=248
This image is called Annunciation, it's an early piece by Leonardo. This piece of art shows Verrocchios influence on young Leonardo. It shows the moment of the Virgins conception. Three main elements of this painting are the angel, the Virgin, and the dove, which represents the holy spirit.

# data[].attributes.body
https://www.metmuseum.org/toah/works-of-art/1975.1.410/ This picture shows a time of war and shows that the person holding up the sword is saying its over

# data[].attributes.body
The painting "Last Supper" shows everyone arguing around one man just sitting there quietly, this could be trying to show how this

# data[].attributes.body
https://artgallery.yale.edu/collections/objects/56348
This picture shows people throwing tea off the ship which was called the Boston Tea Party. The people were sick and tired of the taxes that they had to pay the British so they snuck onto their boat and dumped 92,000 pounds of British tea into the harbor which basically started The Revolutionary War.

# data[].attributes.body
http://www.universalleonardo.org/worklarge.php?id=199&image=0&trail=0&trailCount=&name=
This image is Tobias and the Angel by Leonardo DaVinci.  This image shows Tobias being escorted by Raphael, the Archangel. In the Renaissance, the idea of "Guardian Angels" was everywhere. The story goes that Raphael told Tobias to take out the heart, liver, and gall from a fish that had tried to attack him. The gall was used to restore his fathers eyesight. The liver and heart were burned to keep away bad spirits.

# data[].attributes.body
The picture of the phantom tower shows that even tho the towers might have been destroyed they still are there and they helped to create an even better place for everyone.

# data[].attributes.body
https://artgallery.yale.edu/collections/objects/106005
This picture of Pompeii shows the volcano starting to erupt and the people not evacuating because they do not know what it is. This imitates life because it is showing how Pompeii used to look like before the volcano erupted and destroyed everything.

# data[].attributes.body
The painting "Battle of Anghiari" shows what war was like back then and how brutal it is.

# data[].attributes.body
The image of the phantom towers shows that even tho the twin towers are gone they still live because even tho the towers were

# data[].attributes.body
https://youtu.be/Bs-Hr-gEJAU

This song is about just the all around bad things happening around us.  In the beginning of the song it says that you wake up to bad news but it can't take the youth away or the innocence from them as in teens or kids. However it will if these things keep happening over and over again. This song is just explaining how things in the news these days are very real and need to end soon. It also says that kids/teens need to keep pushing through and no matter what's happening in the real world.

# data[].attributes.body
This image shows that things in life aren't always neat and perfect.Everyone makes mistakes and everything has its flaws

# data[].attributes.attachment_link.readable_text
Claude Monet. Letter to Paul Helleu. March 21, 1894 [published in Howard-Johnston 1969], thanks Helleu for "le Cézanne" (this picture).

Claude Monet. Letter to [Paul] Durand[-Ruel]. March 30, 1894 [published in Lionello Venturi, "Les Archives de l'Impressionnisme," Paris, 1939, vol. I, p. 349 and Wildenstein 1979], asks Durand-Ruel to send to him "mon Cézanne et la toile de fleurs que M. Martial Caillebotte a dû déposer chez vous pour moi" (my Cézanne and the flower painting that Mr. Martial Caillebotte had to deposit with you for me), referring to this picture.

Paul Cézanne: Mappe. Munich, 1912, pl. 10, as "Äpfel und Primeltopf".

Gustave Geffroy. Claude Monet: Sa vie, son temps, son œuvre. Paris, 1922, p. 331, lists it as "des fleurs" among paintings by Cézanne in Monet's collection.

Cinquante ans de peinture française, 1875-1925. Exh. cat., Musée des Arts Décoratifs. Paris, 1925, p. 7, no. 12, dates it 1886.

Stephan Bourgeois and Waldemar George. "The French Paintings of the XIXth and XXth Centuries in the Adolph and Samuel Lewisohn Collection." Formes nos. 28-29 (1932), p. 301, ill. after p. 304.

"In the World of Art: Modern European Paintings." Mid-Week Pictorial 38 (October 14, 1933), ill. p. 10, notes its inclusion in the "Exhibition of Modern European Art" at the Museum of Modern Art, New York.

Lionello Venturi. Cézanne: son art-son oeuvre. Paris, 1936, vol. 1, pp. 57, 194, no. 599; vol. 2, pl. 194, no. 599, calls it "Pot de géraniums et fruits" and dates it 1890-94.

Élie Faure. Cézanne. Paris, [1936], fig. 40, dates it about 1890.

Jacques de Laprade. "L'exposition Cézanne à l'Orangerie." Beaux-Arts no. 177 (May 22, 1936), p. 2, ill. p. 10, dates it about 1885.

Charles Sterling in Cézanne. Exh. cat., Musée de l'Orangerie. Paris, 1936, p. 96, no. 70, pl. XXXVII, dates it 1886-88.

René Huyghe. Cézanne. Paris, 1936, pp. 44, 48, 66, fig. 36, dates it about 1885.

John Rewald. "Cézanne et son oeuvre." L'art sacré special number (May 1936), p. 8, fig. 15.

"Cézanne's Paintings and Watercolors Exhibited in Fine One Man Loan Show at the Paris Orangerie." Art News 34 (August 15, 1936), pp. 6, 13, ill., dates it about 1886-88.

Exhibition of Masters of French 19th Century Painting. Exh. cat., New Burlington Galleries. London, 1936, pp. 40-41, no. 89, pl. IX, dates it 1886-88.

Sam A. Lewisohn. Painters and Personality: A Collector's View of Modern Art. [New York], 1937, p. 37, pl. 18, calls it "Apples and Primroses".

Fritz Novotny. Cézanne. Vienna, 1937, pl. 74, calls it "Still-Life with Pot of Geraniums" and dates it 1886-90.

Introduction by René Huyghe. Cent trente chefs-d'œuvre de l'art français du moyen age au XXe siècle. Paris, 1937, pl. 114.

Charles Sterling in Chefs d'œuvre de l'art français. Exh. cat., Palais National des Arts. Paris, 1937, pp. 127-28, no. 253.

Fritz Novotny. Cézanne und das Ende der Wissenschaftlichen Perspektive. Vienna, 1938, pp. 71-72 n. 64.

Robert J. Goldwater. "Cézanne in America: The Master's Paintings in American Collections." Art News Annual, section I (The 1938 Annual), 36 (March 26, 1938), p. 160, ill. p. 143, dates it 1890-94; compares the "clarity of color and openness of arrangement" to Cézanne landscapes of the 1890s.

Alfred M. Frankfurter. "Cézanne: Intimate Exhibition. Twenty-one Paintings Shown for the Benefit of Hope Farm." Art News 36 (March 26, 1938), pp. 17, 30, ill., dates it 1890-94.

Alfred M. Frankfurter. "Cézanne in New York." Burlington Magazine 72 (May 1938), p. 243, dates it 1890-94.

Albert C. Barnes and Violette De Mazia. The Art of Cézanne. New York, 1939, pp. 72, 313 n. 23, pp. 363, 414, no. 121, date it about 1890.

Raymond Cogniat. Cézanne. Paris, 1939, pl. 78, dates it 1890-94.

Sam A. Lewisohn. "Personalities Past and Present." Art News, section I (The 1939 Annual), 37 (February 25, 1939), ill. p. 69 (installation photo of Lewisohn's home).

Alfred M. Frankfurter. "383 Masterpieces of Art." Art News (The 1940 Annual) 38 (May 25, 1940), p. 66.

Walter Pach in Masterpieces of Art: Catalogue of European and American Paintings, 1500-1900. Exh. cat., World's Fair. New York, 1940, pp. 235-36, no. 346, ill., dates it 1886-90.

Art in Progress. Exh. cat., Museum of Modern Art. New York, 1944, ill. p. 24, dates it 1890-94.

Walt Kuhn. "Cézanne: Delayed Finale." Art News 46 (April 1947), pp. 15-16, ill., dates it 1890-94.

Bernard Dorival. Cézanne. [English ed., 1948]. Paris, 1948, pp. 57, 161, pl. 98, dates it 1890-94 and erroneously locates it as still in the A. Lewisohn collection; comments that Cézanne very rarely included plants in his still lifes.

Fritz Novotny. Cézanne. New York, 1948, pl. 68, dates it 1886-90.

Liliane Guerry. Cézanne et l'expression de l'espace. [1st ed.; 2nd ed., 1966]. Paris, 1950, pp. 70, 99.

Theodore Rousseau Jr. in The Lewisohn Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1951, pp. 7-8, 13, 43, no. 13, ill., calls it "one of the most balanced, carefully carried out works of the master" and remarks that the arrangement of the apples and cloth have "a rhythm reminiscent of his landscapes".

Daniel Catton Rich in Cézanne: Paintings, Watercolors & Drawings. Exh. cat., Art Institute of Chicago. [Chicago], 1952, p. 75, no. 83, ill., dates it 1890-94, and calls the still lifes of this period "among the most objectified and realistic of all Cézanne's work".

Theodore Rousseau Jr. "Notes." Metropolitan Museum of Art Bulletin 10 (May 1952), unpaginated, ill. on front cover (color), calls it "Still Life with Apples and Primroses" and dates it to the early 1890s; states that Cézanne gave it to Monet [see Refs. Raynal 1954, Howard-Johnston 1969]; remarks that "for many years it hung over the head of Monet's bed in his house at Giverny, and his widow refused to sell it in her lifetime".

Theodore Rousseau Jr. The Metropolitan Museum of Art Miniatures: Paintings by Paul Cézanne. Vol. 35, New York, 1952, unpaginated, ill. (color), dates it 1890-94; notes that it "has the same serious qualities as The Card Players" (MMA 61.101.1) and that its serenity recalls "The Gulf of Marseilles, Seen from L'Estaque" (MMA 29.100.67).

Bernard Berenson. Caravaggio: His Incongruity and His Fame. London, 1953, pp. 23-24.

Lawrence Gowing and Ronald Alley. An Exhibition of Paintings by Cézanne. Exh. cat., Royal Scottish Academy Building. Edinburgh, 1954, unpaginated, under no. 40, note that the same pot of flowers appears in "Pot of Primroses and Fruit" (about 1888-90; Courtauld Institute of Art, London; V623, R639); based on the table, suggest that both pictures were painted at Aix and comment that they "precede the elaborately constructed groups of the nineties".

Maurice Raynal. Cézanne. Lausanne, 1954, p. 85, ill. (color), dates it 1890-94; states that Monet bought it in 1894 "almost as soon as Cézanne had finished it" [see Refs. Rousseau 1952, Howard-Johnston 1969].

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 18.

Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), ill. p. 53.

Howard Fussiner. "Organic Integration in Cézanne's Painting." College Art Journal 15 (Summer 1956), pp. 304-8, 310-11, fig. 2, dates it 1890-1900; compares it to Chardin's "Kitchen Still Life" (Museum of Fine Arts, Boston) and Degas's "A Woman Seated beside a Vase of Flowers" (MMA 29.100.128).

Michel Faré. La nature morte en France. Geneva, 1962, vol. 2, fig. 499, erroneously as still in the Lewisohn collection.

Don Richardson. Letter to Mrs. Whitney. November 22, 1964, asserts that the flowers are Chinese, not English, primroses.

Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX-XX Centuries. New York, 1967, pp. 102-4, ill.

Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill. (color), dates it about 1886.

Richard W. Murphy et al. The World of Cézanne: 1839-1906. New York, 1968, p. 134, ill. (color), dates it 1890-94.

Chuji Ikegami. Cézanne. Tokyo, 1969, p. 131, no. 49, ill. (color and black and white), dates it 1890-94.

Paulette Howard-Johnston. "Une visite à Giverny en 1924." L'Oeil no. 171 (March 1969), pp. 31-32, fig. 1 (color), states that Paul Helleu gave this picture to Monet in 1894 and publishes a letter from Monet to Helleu from March 21, 1894, in which Monet thanks Helleu for "le Cézanne" [see Rousseau 1952, Raynal 1954].

Sandra Orienti in L'opera completa di Cézanne. [French ed., 1975; English ed., 1985]. Milan, 1970, pp. 123-24, no. 822, ill., dates it 1890-94.

Bernard Dunstan. Painting Methods of the Impressionists. New York, 1976, p. 94, ill. (color).

Daniel Wildenstein. Claude Monet: Biographie et catalogue raisonné. Vol. 3, 1887-1898: Peintures. Paris, 1979, p. 276, nos. 1234-1235, dates Monet's letter to Helleu about this picture [see Monet 1894 and Howard-Johnston 1969] to March 20, 1894.

Stephen K-M. Tim. Letter to Charles Moffett. April 7, 1982, identifies the plant as a primrose and notes its particular similarity to the Chinese primrose, a species introduced into Europe for indoor decoration.

John Rewald. Paul Cézanne: The Watercolors, A Catalogue Raisonné. Boston, 1983, p. 221, under no. 542, lists this painting among three others depicting the same table, noting that the table also appears in several watercolors; adds that this table was likely "a prop the artist used in Aix and... the works in which it appears were executed there".

Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 11, 184-85, 253, ill. (color, overall and detail).

Christian Geelhaar in Mary Louise Krumrine. Paul Cézanne: The Bathers. Exh. cat., Museum of Fine Arts. Basel, 1990, p. 302 n. 63, lists it among a group of thirteen Cézanne paintings which were owned by Monet.

Roger Hurlburt. "Free Spirits." Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D.

Helen Kohen. "Lasting Impressions." Miami Herald (December 20, 1992), p. 6I.

Götz Adriani. Cézanne: Gemälde. Exh. cat., Kunsthalle Tübingen. Cologne, 1993, p. 114 n. 2, p. 178 n. 1 [English ed., 1995].

Jean-Marie Baron and Pascal Bonafoux. Cézanne: Les natures mortes. Paris, 1993, pp. 38-39, ill. (color), date it 1890-94.

Charles F. Stuckey. Claude Monet, 1840-1926. Exh. cat., Art Institute of Chicago. Chicago, 1995, p. 225, states that this picture was sent to Monet by Durand-Ruel in late March 1894, as a gift from Paul Helleu.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 468, ill. p. 469.

Walter Feilchenfeldt in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 571 [French ed., Paris, 1995].

John Rewald, in collaboration with Walter Feilchenfeldt, and Jayne Warman. The Paintings of Paul Cézanne: A Catalogue Raisonné. New York, 1996, vol. 1, pp. 434, 567-70, no. 680; vol. 2, p. 233, fig. 680, calls it "Pot de primevères et fruits sur une table" and dates it about 1890.

Henri Loyrette in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 99 n. 2 [French ed., Paris, 1995], lists it among fourteen Cézanne paintings owned by Monet.

Isabelle Cahn in Cézanne. Exh. cat., Galeries Nationales du Grand Palais, Paris. Philadelphia, 1996, p. 567 [French ed., Paris, 1995].

Sarah Lees in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, p. 245.

Gilbert T. Vincent and Sarah Lees in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, p. 148, remark that Stephen Clark considered it for his first purchase of a Cézanne, but decided its asking price was too high.

Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 110, 188-89, no. 76, ill. (color and black and white).

Susan Alyson Stein in Masterpieces of European Painting, 1800-1920, in The Metropolitan Museum of Art. New York, 2007, pp. 124, 222, no. 113, ill. (color and black and white).

Jayne S. Warman in Cézanne and Paris. Exh. cat., Musée du Luxembourg. Paris, 2011, p. 167, fig. 83 (color) [French ed., 2011].

Guillermo Solana. Cézanne site/non-site. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2014, pp. 139-40, fig. 23 (color), compares the placement of apples in it to that of houses on the hillside of "The Sea at L'Estaque behind Trees" (1878-79, Musée Picasso, Paris).

Walter Feilchenfeldt, Jayne Warman, and David Nash. The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. 2014-?, no. 824, ill. (color) [https://www.cezannecatalogue.com/catalogue/entry.php?id=659], as "Pot de primevères et fruits sur une table".

Sylvie Patin in Paul Cezanne: Le chant de la terre. Ed. Daniel Marchesseau. Exh. cat., Fondation Pierre Gianadda. Martigny, 2017, pp. 59, 61, as "Pot de primevères et fruits sur une table" (Pot of Primroses and Fruits on a Table).

Rachel E. Perry. "Immutable Mobiles: UNESCO's Archives of Colour Reproductions." Art Bulletin 99 (June 2017), fig. 4, as "Pot de Géranium et fruits/ Pot of Geraniums and Fruit"; reproduces pp. 58-59 of the "Catalogue of Colour Reproductions of Painting from 1860 to 1949" [Paris: UNESCO, 1949], where this work appears as no. 46.

Dominique Lobstein in Monet the Collector. Exh. cat., Musée Marmottan Monet. Paris, 2017, pp. 125, 168, fig. 34 (color), states that the picture was probably called "Still Life" when it was sold to Helleu.

Paul Smith in Cezanne to Malevich: Arcadia to Abstraction. Ed. Judit Geskó. Exh. cat., Museum of Fine Arts, Budapest. Budapest, 2021, pp. 45-46, figs. 1, 1a (color overall and detail), states that Cézanne intentionally painted over two leaf stalks that emerge from the pot; links the resultant visual effect to the perceptual theories of George Trumbull Ladd and Anton Ehrenzweig.

# data[].attributes.attachment_link.title
Paul Cézanne | Still Life with Apples and a Pot of Primroses | The Metropolitan Museum of Art

# data[].attributes.attachment_link.description
The Painting: Paul Cézanne often has been called a master of still-life painting. In The Met's picture, we can see why.

# data[].attributes.body
The art work called "Iwo Jima" shows a few soldiers raising up an American flag after a hard fought battle. The art shows that even after going through hard times and struggles that you can still come out on top if you push yourself and never back down

# data[].attributes.body
the picture of the beams of the no longer towers

# data[].attributes.body
The painting "Iwo Jima" shows soldiers lifting up their flag as a group working together.  It looks like the ground is burned, almost like there was a war before this action.  What it says to me is that those soldiers are working together and doing what they're doing for their country. The next photo or painting is called "The Phantom Towers". This photo shows New York City at night with a faint almost shadow like outline of the twin towers and Statue of Liberty. The twin towers were taken town in 9/11 and this photo shows just the memory of those two towers and what happened that day. Phantom means ghost and there were so many lives lost that day i think this is just a tribute to all lost.

# data[].attributes.body
The Art work called "The Phantom Tower" shows the two towers that once stood tall next to each other before the attack. It's like a beam of light symbolizing that we will never forget about the people that died in the attack and that we will also always remember the twin towers.

# data[].attributes.body
The image two Jima shows when the war was done and four american soldiers that survived lifting up the american flag over bodies of people who died in the war. The image says that america has won the long battle and is now done and they are proud to be to be alive and holding up the american flage to show all of the hard work they put into the war wasn't for nothing.

# data[].attributes.body
The images imitate life by showing how struggles can lead to success. The american flag in the Iwo Jima image represented life, liberty and success. Americans came together due to the tragic crashing of the twin towers. The beams of lights representing the twin towers and the statue of liberty represents that unity can go further than a dispute.

# data[].attributes.body
The image "Iwo Jima" shows US soldiers raising an american flag after a bloody battle. This shows how much effort it took to win this battle. It gives off the sense of a victory after hard work. It shows that unity can go a long ways. This reflects what the soldiers went through to get that victory.As for the image "The Phantom Towers,"  it shows what was. It shows how the loss of something led to the creating of something else. After the towers went down, a surge or patriotism arose.

# data[].attributes.body
The picture of Iwo Jima shows army member raising a US flag. This imitates life because it shows  the end of the battle and how much the soldiers put in to hold up the flag and win the war.  The picture of The Phantom Towers is made after the 9/11 attacks and when people thought we were in jeopardy. The two lights that stand next to each other represent that everyone will still remember what happened to the towers and the people that lost their life. This picture also represents that we are still standing no matter what happens to us and we are ready for whatever people have coming.

Pompeii - This image represents when pompeii was about to explode and no one knew what was going to happen.