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This is just a vase of some nice flowers. When I look at this art piece it makes me think about old people because it looks like an old art piece. I see just a plain green back ground and these is some flowers that fell off like the flowers died. It mean someone was happy with flowers so they painting an art piece.

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Roses - Vincent van Gogh - Google Arts & Culture

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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.

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There is a boat with 2 people on in it. It looks like there is a storm coming and they got hit because the boy is half way off the boat about to fall in the water. My feeling after seeing this piece is OK. Its look like there is a light house in the back ground and the sky is dark. This picture means the sea of New York city. I thought the picture means it shows a storm and people in the storm about to get injured.

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In 1883 Winslow Homer moved to the small coastal village of Prouts Neck, Maine, where he created a series of paintings of the sea unparalleled in American art. Long inspired by the subject, Homer had spent summers visiting New England fishing villages during the 1870s, and in 1881-82, he made a trip to a fishing community in Cullercoats, England, that fundamentally changed his work and his life. The paintings he created after 1882 focused almost exclusively on humankind's age-old contest with nature. Here Homer depicted the heroic efforts of fishermen at their daily work, hauling in an abundant catch of herring. In a small dory, two figures loom large against the mist on the horizon, through which the sails of the mother schooners are dimly visible. While one fisherman hauls in the netted and glistening herring, the other unloads the catch. Utilizing the teamwork so necessary for survival, both strive to steady the precarious boat as it rides the incoming swells. Homer's isolation of these two figures underscores the monumentality of their task: the elemental struggle against a sea that both nurtures and deprives.

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The Herring Net - Winslow Homer (American, 1836-1910) - Google Arts & Culture

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In 1883 Winslow Homer moved to the small coastal village of Prouts Neck, Maine, where he created a series of paintings of the sea unparalleled in American art. Long inspired by the subject, Homer had spent summers visiting New England fishing villages during the 1870s, and in 1881-82, he made a trip to a fishing community in Cullercoats, England, that fundamentally changed his work and his life.

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There is people outside siting all talking to each other. I feel normal this painting is kinda plain. There is another building in the background the people are in a building but there is just windows looking straight in. Edward hopper made this painting because its called Nighthawks its famous restaurant in New York. I thought this piece was people that was business people and they was siting there trying to make money. Yes after one has different options .

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Edward Hopper said that "Nighthawks" was inspired by "a restaurant on New York's Greenwich Avenue where two streets meet," but the image-with its carefully constructed composition and lack of narrative-has a timeless, universal quality that transcends its particular locale. One of the best-known images of twentieth-century art, the painting depicts an all-night diner in which three customers, all lost in their own thoughts, have congregated. Hopper's understanding of the expressive possibilities of light playing on simplified shapes gives the painting its beauty. Fluorescent lights had just come into use in the early 1940s, and the all-night diner emits an eerie glow, like a beacon on the dark street corner. Hopper eliminated any reference to an entrance, and the viewer, drawn to the light, is shut out from the scene by a seamless wedge of glass. The four anonymous and uncommunicative night owls seem as separate and remote from the viewer as they are from one another. (The red-haired woman was actually modeled by the artist's wife, Jo.) Hopper denied that he purposefully infused this or any other of his paintings with symbols of human isolation and urban emptiness, but he acknowledged that in "Nighthawks" "unconsciously, probably, I was painting the loneliness of a large city."

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Nighthawks - Edward Hopper (American, 1882-1967) - Google Arts & Culture

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Edward Hopper said that "Nighthawks" was inspired by "a restaurant on New York's Greenwich Avenue where two streets meet," but the image-with its carefully constructed composition and lack of narrative-has a timeless, universal quality that transcends its particular locale.

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I see a pretty white rose. its look like its shape as an animal with roses around. i feel happy because I love roses there way better than flowers. Its nit how it look like that its a cool art piece . There is nothing in the background its just white. In New York they had skeletons for landscape So that´s why Georgia O´keeffe came back to New York so she could do this beautiful piece.

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In 1930 Georgia O'Keeffe witnessed a drought in the Southwest that caused the starvation of many animals, whose skeletons littered the landscape. She was fascinated by these bones and shipped a number back to New York so she could paint them. She noted, "To me they are as beautiful as anything I know . . . The bones seem to cut sharply to the center of something that is keenly alive on the desert even tho' it is vast and empty and untouchable."" In "Cow's Skull with Calico Roses," O'Keeffe added a macabre note by decorating the skull with artificial flowers, the kind used to adorn graves in New Mexico. Alfred Stieglitz exhibited this painting at his gallery An American Place between 1931 and 1932.

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Cow's Skull with Calico Roses - Georgia O'Keeffe (American, 1887-1986) - Google Arts & Culture

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In 1930 Georgia O'Keeffe witnessed a drought in the Southwest that caused the starvation of many animals, whose skeletons littered the landscape. She was f...

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I see a fence , trees , some people that look sad. Its looks like tress and there is a rock. I feel a little up set because the picture looks sad. There is too people walking in the background. The artist made this art because he lived and work at a yellow house with Arles , France.

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Arlésiennes (Mistral) - Paul Gauguin (French, 1848-1903) - Google Arts & Culture

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This painting dates from the two months Paul Gauguin spent living and working with Vincent van Gogh at the Yellow House in Arles, France. Its setting is th...

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I see a little family on a boat. I feel fine looking at this picture. In the background there looks like there is some houses. I thought it meant just a family that likes going boating. This art piece means that they have a boating party in New York.

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The Boating Party - Mary Cassatt - Google Arts & Culture

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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.

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I see adults, kids and some dogs. The adults are laying or standing up there all looking at the water.  I feel happy. In the background I notice some boats in the water. Some people are holding umbrellas like its going to rain. Its the largest painting this art piece means people relaxing in park at an island. I thought it was just people watching boats in the water with there family on a nice day. Yes this work people could take it different than me.

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A Sunday on La Grande Jatte - Georges Seurat - Google Arts & Culture

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In his best-known and largest painting, Georges Seurat depicted people relaxing in a suburban park on an island in the Seine River called La Grande Jatte. ...

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There is a boat in the water with it looks like a family inside the boat having fun shipping. I feel really nothing But I do like seeing how cool the art work is. I see the clouds are dark likes there is going to be a storm. I see a other boat in the back. This means the artist Charles Stewart made this piece because he love new York.  yes people can have different things .

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Homer developed a penchant for forceful realism early in his career. Following an apprenticeship in a Boston lithography shop, he supported himself as a freelance illustrator, creating a wide variety of popular images that subsequently were published as wood engravings in national periodicals like Harper's Weekly. During the early 1860s, his themes ranged from stylish seaside-resort life to the horrors of the battlefield. Following an extended trip to Europe in 1866-1867, Homer adopted a warmer palette, a looser brush technique, and an interest in painting outdoor scenes that owed much to the influence of contemporary French artists such as Courbet, Manet, and Monet.

Upon his return to the United States, Homer turned his attention to lively scenes of sports and recreation, painting warm and appealing images that perfectly suited the prevalent postwar nostalgia for a simpler, more innocent America. Breezing Up (A Fair Wind), painted during the country's centennial year, has become one of the best-known and most beloved artistic images of life in 19th-century America.

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Breezing Up (A Fair Wind) - Winslow Homer - Google Arts & Culture

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Homer developed a penchant for forceful realism early in his career. Following an apprenticeship in a Boston lithography shop, he supported himself as a freelance illustrator, creating a wide variety of popular images that subsequently were published as wood engravings in national periodicals like Harper's Weekly.

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I see so many buildings and a rail road track. I feel good because I love seeing how fantastic people are with one this art is good its so real with all the buildings going into each other. With the rail road track looking so long I feel really nice. The background is really good you can see some windows on the building and some stair cases. It means that this building shows how nice new York city is. I thought it meant it was just a plain place but its not its like the first building. Yes people can think this art means something else.

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The skyscrapers and railways of New York epitomised the dynamism of the modern metropolis. This painting, originally titled <wm> New York - an Abstraction, shows Nevinson's enthusiastic response, in which the urgency of the city is matched with a modernist style of painting derived from Futurism. However, Nevinson's work did not receive the success for which he had hoped, and his initial excitement gave way to the disillusion indicated by his revised title.

Details

Title: The Soul of the Soulless City ('New York - an Abstraction')

Creator: Christopher Richard Wynne Nevinson

Provenance: Presented by the Patrons of British Art through the Tate Gallery Foundation 1998

Physical Dimensions: 915 x 608 mm

Original Title: The Soul of the Soulless City ('New York - an Abstraction')

Additional Viewing Notes: Nevinson first visited New York in 1919 at the invitation of Frederick Keppel & Co, a gallery and print publisher, where his prints of urban scenes and the First World War (1914-18) were exhibited to considerable acclaim. He was immediately impressed by the city's architecture, declaring to one New York journalist that the city was 'built for me'. During the course of his month long stay he made numerous sketches of the city, some of which were later made up into paintings and prints. New York - an Abstraction was painted in London after Nevinson's return from New York in 1919 and before his next visit in October 1920 for a second exhibition at Frederick Keppel & Co. The poor reception of this exhibition may have accelerated Nevinson's disaffection with the city. His growing embitterment is perhaps reflected by the change of title. Originally exhibited in 1920 at the Bourgeois Galleries, New York, as New York - an Abstraction, it was retitled The Soul of the Soulless City in the Faculty of Arts Exhibition, Grosvenor House, London, in 1925 probably at Nevinson's instigation. The new title may have been a reference to Karl Marx's comment that religion was the 'heart of a heartless world'. The painting depicts an imaginary section of the elevated railway running through Manhattan. The image described by one American critic as 'hard, metallic, unhuman' (quoted in David Cohen 'The Rising City Urban Themes in the Art and Writings of C.R.W.Nevinson', C.R.W.Nevinson The Twentieth Century, p.49), betrays an allegiance to Cubism and Futurism. The narrow chromatic range of mainly brown and grey and the complex facetting of the skyscrapers are closely related to Cubism. While the central motif of a railway line receding dramatically into a cluster of tower blocks epitomises a futurist interest in speed, technology and above all modernity. Though Nevinson repeatedly claimed to have been the first artist to depict the modern beauty of New York's architecture, in fact several artists including the painters Joseph Stella, Edward Hopper and the photographers Alvin Langdon Coburn and Paul Strand had taken it as their subject matter before 1919. The parallels between Coburn's mirror-photographs of New York and Vorticism were so apparent that in 1917 Ezra Pound, the poet, critic and founder member of the Vorticist group, dubbed them 'vortographs'. Among Nevinson's British contemporaries, Alfred Wolmark also painted New York scenes. The modern city had been a staple subject matter for British avant-garde artists before the First World War, but in the aftermath of that conflict the taste for modernity waned. This shift in attitudes was manifested in the visual arts by a 'return to order', that is to say a revival of the classical style and a renewed interest in the countryside and nature as subject matter. Nevinson's work during the 1920s reflected this change. Where the pre-war paintings had been characterised by the angular and dramatic style associated with the machine aesthetic of Futurism, increasingly his postwar works were rendered in a naturalist style. In tandem with this stylistic development, a growing number of Nevinson's paintings were landscapes. When appropriate, however, futurist motifs and subjects were revived, as in The Twentieth Century, 1932-35, his large scale critique of Nazism, Fascism and war. Further reading: C.R.W.Nevinson The Twentieth Century, exhibition catalogue, The Imperial War Museum, London 1999, reproduced as 'Soul of the Soulless City' p.143, pl.85 (colour) C.R.W. Nevinson: Retrospective Exhibition of Paintings, Drawings and Prints 1889-1946, exhibition catalogue, Kettle's Yard, Cambridge 1988 Jeremy Lewison 'English Painting and the Metropolis in the Twenties', Jean Clair (ed.), The 1920s: Age of the Metropolis, exhibition catalogue, The Montreal Museum of Fine Arts, Montreal 1991, pp.417-31 Toby Treves

Type: Painting

Rights: Tate

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The Soul of the Soulless City ('New York - an Abstraction') - Christopher Richard Wynne Nevinson - Google Arts & Culture

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The skyscrapers and railways of New York epitomised the dynamism of the modern metropolis. This painting, originally titled New York - an Abstraction, ...

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I see a lady she looks like she is surrendered by gold. The picture looks like its from the early 1900. I feel happy that I get to explore nice art pieces. I really like how they did the background and made the lady fit in by the background. I would say it means someone made some money then put it into a piece of art. This art piece means the movements of the Blaue Reiter and its circle. Yes this art work could mean different to other people. Everyone has different options.

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Neue Galerie New York is a museum devoted to early twentieth-century German and Austrian art and design. The collection features art from Vienna around 1900, exploring the special relationship that existed between the fine arts (Richard Gerstl, Gustav Klimt, Oskar Kokoschka, Alfred Kubin, and Egon Schiele) and the decorative arts created at the Wiener Werkstätte by such well-known figures as Josef Hoffmann, Koloman Moser, and Dagobert Peche, and by such celebrated architects as Adolf Loos, Joseph Urban, and Otto Wagner.

The German art collection represents various movements of the early twentieth century: the Blaue Reiter and its circle (Vasily Kandinsky, Paul Klee, August Macke, Franz Marc, and Gabriele Münter); the Brücke (Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, and Karl Schmidt-Rottluff); the Bauhaus (Lyonel Feininger, Paul Klee, László Moholy-Nagy, Oskar Schlemmer); the Neue Sachlichkeit (Max Beckmann, Otto Dix, George Grosz, and Christian Schad); as well as applied arts from the Bauhaus (Marianne Brandt, Marcel Breuer, Ludwig Mies van der Rohe, and Wilhelm Wagenfeld).

Neue Galerie New York was conceived by two men who enjoyed a close friendship over a period of nearly thirty years: art dealer and museum exhibition organizer Serge Sabarsky and businessman, philanthropist, and art collector Ronald S. Lauder. Sabarsky and Lauder shared a passionate commitment to Modern German and Austrian art, and dreamed of opening a museum to showcase the finest examples of this work. After Sabarsky died in 1996, Lauder carried on the vision of creating Neue Galerie New York as a tribute to his friend.

Our museum's name (which means "new gallery") has its historical roots in various European institutions, artists' associations, and commercial galleries, foremost the Neue Galerie in Vienna, founded in 1923 by Otto Kallir. All sought to capture the innovative, modern spirit they discovered and pursued at the turn of the twentieth century. Our institution thus reflects a dual commitment: an embrace of the city in which we are located and a focus on the culture upon which our exhibitions and collections are based. Two of the principal goals of the Neue Galerie New York are to bring a sense of perspective back to Germanic culture of this period, and to make the best of this work available to American and other audiences for both scholarly and aesthetic inquiry.

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Neue Galerie New York, New York, United States - Google Arts & Culture

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Neue Galerie New York is a museum devoted to early twentieth-century German and Austrian art and design. The collection features art from Vienna around 1900, exploring the special relationship that existed between the fine arts (Richard Gerstl, Gustav Klimt, Oskar Kokoschka, Alfred Kubin, and Egon Schiele) and the decorative arts created at the Wiener Werkstätte by such well-known figures as Josef Hoffmann, Koloman Moser, and Dagobert Peche, and by such celebrated architects as Adolf Loos, Joseph Urban, and Otto Wagner.