. "300"^^ . . . . . . . . . . "Hope"@en . "Hope (\u00AB Espoir \u00BB ou \u00AB Esp\u00E9rance \u00BB) est une peinture \u00E0 l'huile r\u00E9alis\u00E9e par le peintre anglais George Frederic Watts. Ce dernier a achev\u00E9 les deux premi\u00E8res versions de l'\u0153uvre en 1886."@fr . "279"^^ . "The composition of Watts's Hope was strongly influenced by Burne-Jones's Luna. At the time Watts began work on Hope, Burne-Jones had recently completed a popular treatment of the same topic."@en . "First version"@en . . "1080529923"^^ . . "Barack Obama, The Audacity of Hope, 2006"@en . "Hope (peinture)"@fr . "Hope (\u00AB Espoir \u00BB ou \u00AB Esp\u00E9rance \u00BB) est une peinture \u00E0 l'huile r\u00E9alis\u00E9e par le peintre anglais George Frederic Watts. Ce dernier a achev\u00E9 les deux premi\u00E8res versions de l'\u0153uvre en 1886."@fr . . . . . "Jeremiah Wright, 1990, as quoted by Barack Obama, 1995"@en . . . "right"@en . . . . . . "Luna"@en . . . . . . . . . . . . "Second version"@en . . . . . . . . . . . "536"^^ . ", further versions 1886\u20131895"@en . "280"^^ . . "944"^^ . . . . . . . . "cm"@en . . . . . . . . . . . . . "in"@en . "\u5E0C\u671B (\u6CB9\u756B)"@zh . "\u0623\u0645\u0644 (\u0644\u0648\u062D\u0629)"@ar . "Luna - Edward Burne-Jones .jpg"@en . . . . . "Hope sitting on a globe, with bandaged eyes playing on a lyre which has all the strings broken but one out of which poor little tinkle she is trying to get all the music possible, listening with all her might to the little sound\u2014do you like the idea?"@en . . . "blindfolded girl sitting on a giant orange"@en . . . . "1738"^^ . . . . . . "623"^^ . . "Watts preferred his second version of Hope, which was painted in softer tones. This version was given to the English nation on its completion and exhibited worldwide, becoming the best-known version of the image."@en . "Woman with her face hidden, sitting on a globe"@en . . "Edward Burne-Jones Hope .jpg"@en . "270"^^ . . . . . . . . . . . "427"^^ . . . . "58254"^^ . . . "Hope"@en . . . . . . . . . "Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold. Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale. As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display. Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took \"The Audacity of Hope\" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of \"Hope\"."@en . . . . . . . . . . . . "Blindfolded Hope sitting on a globe"@en . "111.8"^^ . . "The painting depicts a harpist, a woman who at first glance appears to be sitting atop a great mountain. Until you take a closer look and see that the woman is bruised and bloodied, dressed in tattered rags, the harp reduced to a single frayed string. Your eye is then drawn down to the scene below, down to the valley below, where everywhere are the ravages of famine, the drumbeat of war, a world groaning under strife and deprivation. It is this world, a world where cruise ships throw away more food in a day than most residents of Port-au-Prince see in a year, where white folks' greed runs a world in need, apartheid in one hemisphere, apathy in another hemisphere ... That's the world! On which hope sits! [...] And yet consider once again the painting before us. Hope! Like Hannah, that harpist is looking upwards, a few faint tones floating upwards towards the heavens. She dares to hope ... she has the audacity ... to make music ... and praise God ... on the one string ... she has left!"@en . "George Frederic Watts in a letter to his friend Madeline Wyndham, December 1885"@en . . . . . . "Assistants_and_George_Frederic_Watts_-_Hope_-_Google_Art_Project.jpg"@en . . . "26430438"^^ . . . . . . . . . . "Watts \u2013 Hope .jpg"@en . . . . . . . . . "center"@en . "800"^^ . . . . . . . . . . . . "Assistants and George Frederic Watts - Hope - Google Art Project.jpg"@en . "Frederic George Stephens on seeing Hope in Watts's studio, 1886"@en . . . "Deary! a young woman tying herself into a knot and trying to perform the chair-trick. She is balanced on a pantomime Dutch cheese, which is floating in stage muslin of uncertain age and colour. The girl would be none the worse for a warm bath."@en . . . . . . "650"^^ . . "blindfolded girl surrounded by a rainbow, sitting on a giant orange"@en . . . . . . "Oil sketch, 1885"@en . . "'Rainbow' version"@en . . "blindfolded girl sitting on a giant orange, with a star above her"@en . . . . . . . . "468"^^ . . . . . . . . . . "center"@en . "Second version of Hope, 1886"@en . . "horizontal"@en . "Woman in a prison cell carrying a flowering rod"@en . . 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\u0627\u0644\u0648\u0642\u062A\u060C \u0623\u0635\u0628\u062D\u062A \u0627\u0644\u0644\u0648\u062D\u0629 \u062A\u0628\u062F\u0648 \u0642\u062F\u064A\u0645\u0629 \u0648\u0648\u062C\u062F\u0627\u0646\u064A\u0629."@ar . . "Satirical magazine Fun on the exhibition of Hope, 1886"@en . . . . . . . . . . . . . . . . . . . . "734"^^ . "\u300A\u5E0C\u671B\u300B\uFF08\u82F1\u8A9E\uFF1AHope\uFF09\u662F\u82F1\u570B\u756B\u5BB6\u4E54\u6CBB\u00B7\u5F17\u96F7\u5FB7\u91CC\u514B\u00B7\u74E6\u8328\u7684\u8C61\u5FB5\u4E3B\u7FA9\u6CB9\u756B\uFF0C\u4E26\u65BC1886\u5E74\u5B8C\u6210\u524D\u5169\u500B\u7248\u672C\u3002\u8207\u4E4B\u524D\u7684\u4E3B\u984C\u63A2\u8A0E\u622A\u7136\u4E0D\u540C\uFF0C\u6CB9\u756B\u5C55\u793A\u4E86\u4E00\u540D\u8499\u8457\u773C\u775B\u7684\u5B64\u7368\u5973\u6027\u5750\u5728\u7403\u72C0\u7269\u4E0A\uFF0C\u4E26\u5F48\u594F\u53EA\u5269\u4E0B\u4E00\u6839\u5F26\u7684\u91CC\u62C9\u7434\u3002\u80CC\u666F\u5E7E\u4E4E\u7A7A\u767D\uFF0C\u5176\u552F\u4E00\u53EF\u898B\u7684\u7279\u9EDE\u5C31\u53EA\u6709\u4E00\u9846\u661F\u661F\u3002\u6C83\u8328\u6545\u610F\u4F7F\u7528\u8C61\u5FB5\u4E3B\u7FA9\uFF0C\u800C\u4E0D\u662F\u7528\u8207\u5E0C\u671B\u6709\u95DC\u806F\u7684\u50B3\u7D71\u985E\u578B\uFF0C\u4F7F\u9019\u526F\u756B\u7684\u542B\u7FA9\u8B8A\u5F97\u542B\u7CCA\u4E0D\u6E05\u3002\u96D6\u7136\u4ED6\u5728\u300A\u5E0C\u671B\u300B\u4F7F\u7528\u7684\u9854\u8272\u53D7\u5230\u6975\u5927\u7684\u8B9A\u8CDE\uFF0C\u4F46\u5728\u5C55\u51FA\u671F\u9593\uFF0C\u8A31\u591A\u8A55\u8AD6\u5BB6\u5E76\u4E0D\u559C\u6B61\u9019\u526F\u756B\u3002\u300A\u5E0C\u671B\u300B\u5728\u7F8E\u5B78\u904B\u52D5\u53D7\u5230\u6B61\u8FCE\uFF0C\u8A72\u904B\u52D5\u56E0\u8A8D\u7232\u7F8E\u624D\u662F\u85DD\u8853\u7684\u4E3B\u8981\u76EE\u7684\uFF0C\u6240\u4EE5\u4E26\u4E0D\u5728\u4E4E\u5176\u4FE1\u606F\u7684\u542B\u7CCA\u4E4B\u8655\u3002 \u96D6\u7136\u6C83\u8328\u6536\u5230\u8A31\u591A\u4E3B\u52D5\u8CFC\u8CB7\u756B\u4F5C\u7684\u63D0\u8B70\uFF0C\u4F46\u4ED6\u540C\u610F\u5C07\u5176\u6700\u91CD\u8981\u7684\u4F5C\u54C1\u6350\u8D08\u7D66\u570B\u5BB6\uFF0C\u4E26\u8A8D\u7232\u4E0D\u5305\u62EC\u300A\u5E0C\u671B\u300B\u4E26\u4E0D\u5408\u9069\u3002\u56E0\u6B64\u65BC1886\u5E74\u665A\u671F\uFF0C\u6C83\u8328\u8207\u52A9\u7406\u585E\u897F\u723E\u00B7\u65AF\u79D1\u7279\u756B\u4E86\u7B2C\u4E8C\u500B\u7248\u672C\u3002\u5B8C\u6210\u5F8C\uFF0C\u6C83\u8328\u8CE3\u4E86\u539F\u4F5C\u4E26\u5C07\u526F\u672C\u6350\u8D08\u7D66\u5357\u80AF\u8F9B\u9813\u535A\u7269\u9928\uFF08\u73FE\u540D\u7232\u7DAD\u591A\u5229\u4E9E\u8207\u827E\u4F2F\u7279\u535A\u7269\u9928\uFF09\uFF1B\u56E0\u6B64\uFF0C\u7B2C\u4E8C\u500B\u7248\u672C\u6BD4\u539F\u4F5C\u66F4\u5EE3\u7232\u4EBA\u77E5\u3002\u4ED6\u4E4B\u5F8C\u81F3\u5C11\u756B\u4E86\u5169\u500B\u7248\u672C\u4F5C\u79C1\u4EBA\u51FA\u552E\u3002 \u7531\u65BC\u300A\u5E0C\u671B\u300B\u7684\u5EC9\u50F9\u8907\u88FD\u54C1\u53CA1908\u5E74\u7684\u9AD8\u8CEA\u756B\u4F5C\u800C\u958B\u59CB\u5927\u91CF\u6D41\u901A\uFF0C\u5B83\u6210\u7232\u4E00\u7A2E\u5EE3\u53D7\u6B61\u8FCE\u7684\u5F62\u8C61\u3002\u7F8E\u570B\u7E3D\u7D71\u897F\u5965\u591A\u00B7\u7F57\u65AF\u798F\u5728\u4ED6\u7D10\u7D04\u85A9\u52A0\u83AB\u723E\u5C71\u7684\u5BB6\u639B\u8457\u6B64\u756B\u7684\u526F\u672C\uFF1B\u8907\u88FD\u54C1\u6D41\u901A\u81F3\u5168\u7403\uFF1B\u800C\u4E00\u90E8\u65BC1922\u5E74\u4E0A\u6620\u7684\u96FB\u5F71\u63CF\u8FF0\u6C83\u8328\u7684\u756B\u4F5C\u5275\u4F5C\u4EE5\u53CA\u80CC\u5F8C\u7684\u8A2D\u60F3\u6545\u4E8B\u3002\u300A\u5E0C\u671B\u300B\u5DF2\u7D93\u4F3C\u4E4E\u8B8A\u5F97\u904E\u6642\u548C\u904E\u65BC\u50B7\u611F\uFF0C\u800C\u6C83\u8328\u4E5F\u8FC5\u901F\u812B\u96E2\u6642\u5C1A\u30021938\u5E74\uFF0C\u6CF0\u7279\u7F8E\u8853\u9928\u4E2D\u6B62\u4FDD\u7559\u4ED6\u5011\u6536\u85CF\u4F5C\u7232\u6C38\u4E45\u5C55\u51FA\u7684\u6C83\u8328\u4F5C\u54C1\u3002 \u5118\u7BA1\u6C83\u8328\u7684\u4EBA\u6C23\u6709\u6240\u4E0B\u964D\uFF0C\u300A\u5E0C\u671B\u300B\u4ECD\u7136\u5145\u6EFF\u5F71\u97FF\u529B\u3002\u99AC\u4E01\u00B7\u8DEF\u5FB7\u00B7\u91D1\u6069\u57281959\u5E74\u73FE\u540D\u7232\u300A\u7834\u788E\u7684\u5922\u300B\uFF0C\u4EE5\u53CA1990\u5E74\u5728\u829D\u52A0\u54E5\u95DC\u65BC\u7E6A\u756B\u7684\u4F48\u9053\u5747\u4EE5\u5176\u7232\u57FA\u5E95\u3002\u5728\u5F8C\u8005\u7684\u6703\u8846\u4E2D\uFF0C\u5E74\u8F15\u7684\u8D1D\u62C9\u514B\u00B7\u5965\u5DF4\u9A6C\u6DF1\u53D7\u611F\u52D5\u3002\u5967\u5DF4\u99AC\u4EE5\u300C\u7121\u754F\u7684\u5E0C\u671B\u300D\u4F5C\u7232\u7684\u4E3B\u984C\uFF0C\u4EE5\u53CA\u4ED62006\u5E74\u66F8\u7C4D\u7684\u6A19\u984C\u3002\u4ED6\u5728\u5176\u6210\u529F\u76842008\u5E74\u7E3D\u7D71\u7AF6\u9078\u4E2D\u4EE5\u570D\u7E5E\u300C\u5E0C\u671B\u300D\u7684\u4E3B\u984C\u7232\u57FA\u5E95\u3002"@zh . . "Hope's dress is of a dark a\u00EBrial hue, and her figure is revealed to us by a wan light from the front and the paler light of stars in the sky beyone. This exquisite illumination fuses, so to say, the colours, substance and even the forms and contours of the whole, and suggests a vague, dreamlike magic, the charm of which assorts with the subject, and, as in all great art, imparts grace to the expression of the theme."@en . . . . . . . . . . . . "766"^^ . . . "Hope"@en . . . 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"2193"^^ . . . . "George Frederic Watts, 1885, Hope.jpg"@en . . . . . . "Hope (Watts)"@en . . . . . . . . . . "center"@en . . "Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and lat"@en . . . . . "It wasn't just the struggles of these men and women that had moved me. Rather, it was their determination, their self-reliance, a relentless optimism in the face of hardship. It brought to mind a phrase that my pastor, Rev. Jeremiah A. Wright Jr.' had once used in a sermon. The audacity of hope ... It was that audacity, I thought, that joined us as one people. It was that pervasive spirit of hope that tied my own family's story to the larger American story, and my own story to those of the voters I sought to represent."@en . 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