Fitzwilliam Museum in the context of "Tarquin and Lucretia"

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⭐ Core Definition: Fitzwilliam Museum

The Fitzwilliam Museum is the art and antiquities museum of the University of Cambridge. It is located on Trumpington Street opposite Fitzwilliam Street in central Cambridge. It was founded in 1816 under the will of Richard FitzWilliam, 7th Viscount FitzWilliam (1745–1816), and comprises one of the best collections of antiquities and modern art in western Europe. With over half a million objects and artworks in its collections, the displays in the museum explore world history and art from antiquity to the present. The treasures of the museum include artworks by Monet, Picasso, Rubens, Vincent van Gogh, Renoir, Rembrandt, Cézanne, Van Dyck, and Canaletto, as well as a winged bas-relief from Nimrud. Admission to the public is always free.

The museum is a partner in the University of Cambridge Museums consortium, one of 16 Major Partner Museum services funded by Arts Council England to lead the development of the museums sector.

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👉 Fitzwilliam Museum in the context of Tarquin and Lucretia

Tarquin and Lucretia is an oil painting by Titian completed in 1571, when the artist was in his eighties, for Philip II of Spain. It is signed, and considered to have been finished entirely by Titian himself. It is one of a series of great works from Titian's last years, but unlike some of these, is fully finished. It is now in the Fitzwilliam Museum in Cambridge, England.

The story from early Roman history (or legend) of the rape of Lucretia by Sextus Tarquinius (Tarquin), and her subsequent suicide, was a popular subject in Renaissance art. Tarquin raped Lucretia after threatening to kill her if she rejected his advances; this is the moment shown here. The next day she exposed him and committed suicide, prompting the Romans to revolt and overthrow Tarquin's father Tarquin the Proud, the last king of Rome, and establish the Roman Republic. This is traditionally dated to 509 BC. Violent subjects are characteristic of Titian's last years, mostly drawn from mythology or religion, but the directness of this composition stands out among them.

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Fitzwilliam Museum in the context of Frederick W. Green (Egyptologist)

Frederick William Green (March 21, 1869 – 1949) was an English Egyptologist, who worked at a number of sites throughout Egypt. He was honorary keeper of the antiquities at the Fitzwilliam Museum in Cambridge from 1908 to 1949. Green was also a watercolour painter.

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Fitzwilliam Museum in the context of Anaphora (rhetoric)

In rhetoric, an anaphora (Greek: ἀναφορά, "carrying back") is a rhetorical device that consists of repeating a sequence of words at the beginnings of neighboring clauses, thereby lending them emphasis. In contrast, an epistrophe (or epiphora) is repeating words at the clauses' ends. The combination of anaphora and epistrophe results in symploce.

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Fitzwilliam Museum in the context of Michael Jaffé

Andrew Michael Jaffé CBE (3 June 1923 – 13 July 1997) was a British art historian and curator. He was Director of the Fitzwilliam Museum in Cambridge, England for 17 years, from 1973 to 1990.

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Fitzwilliam Museum in the context of Self-Portrait with the Colosseum

Self-Portrait with the Colosseum is an oil on canvas painting by the Dutch Golden Age artist Maarten van Heemskerck, from 1553. It is held in the Fitzwilliam Museum, in Cambridge.

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Fitzwilliam Museum in the context of London (William Blake poem)

"London" is a poem by William Blake, published in the Songs of Experience in 1794. It is one of the few poems in Songs of Experience that reflects a constrained or bleak view of the city. Written during the time of significant political and social upheaval in England, the poem expresses themes of oppression, poverty, and institutional corruption. Scholars have suggested that Blake used this work to critique the impacts of industrialization and to highlight the experiences of London's impoverished residents.

The poem critically examines the social conditions of the time, particularly the exploitation of the poor, while also addressing the loss of individual freedom and the moral decay of society. Blake's writing is thought to reflect his response to the industrial revolution and political unrest in England, as he sought to highlight the suffering of the city's inhabitants.

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