Raphaelzimmer

Prompt: In Raphaelzimmer, wie wird die Feuer im Borgo der Strophe des Brandes des Borgo erläutert?Bitte auf Englisch ausgeben.

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.


Raphaelzimmer

Prompt: Beschreibe die Merkmale der Feuer im Borgo in  der Raphaelzimmer's Strophe des Brandes des Borgo von Raphaelzimmer.Bitte auf Englisch ausgeben.

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.


Raphaelzimmer

Prompt: Im Kontext von Raphaelzimmer, erkunde erkläre die Die Schlacht von Ostia und die Strophe des Brandes des Borgo.Bitte auf Englisch ausgeben.

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.


Raphaelzimmer

Prompt: Erkunde Erkläre die Die Schlacht von Ostia über die Strophe des Brandes des Borgo dieses Kunstwerks, Raphaelzimmer.Bitte auf Englisch ausgeben.

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.


Raphaelzimmer

Prompt: In Raphaelzimmer, wie wird die Die Schlacht von Ostia der Strophe des Brandes des Borgo erläutert?Bitte auf Englisch ausgeben.

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.


Raphaelzimmer

Prompt: Beschreibe die Merkmale der Die Schlacht von Ostia in  der Raphaelzimmer's Strophe des Brandes des Borgo von Raphaelzimmer.Bitte auf Englisch ausgeben.

File:Raphael - Coronation of Charlemagne.jpg

File:Raphael - Deliverance of Saint Peter.jpg

File:School of Raphael - Donation of Rome.jpg

''The Coronation of Charlemagne'', 1516–1517

File:Raphael - The Meeting of Leo the Great and Attila.jpg

File:113e Sala de Constantino (Vista, e).jpg

File:Raphael - The Expulsion of Heliodorus from the Temple.jpg

The Battle of the Milvian Bridge (Giulio Romano)

File:1 Estancia del Sello (Vista general I).jpg

Image:0 Chambre de Raphaël - L'Incendie du Borgo (1).JPG

File:Raphael - Ceiling of the Room of Eliodorus.jpg

File:Perugino - Ceiling of the Room of Fire in the Borgo.jpg

File:8 Estancia de Heliodoro (Vista general I).jpg

''The Meeting of Leo the Great and Attila,'' 1514

Raphael, ''The Expulsion of Heliodorus from the Temple,'' 1511–1513

File:"The School of Athens" by Raffaello Sanzio da Urbino.jpg

File:Giulio Romano - The Battle of the Milvian Bridge.jpg

File:113d Sala de Constantino (Vista, d).jpg

File:15 Estancia del Incendio del Borgo (Vista general I).png

Raphael, ''The School of Athens'', 1509-1511

Raphael, ''Deliverance of Saint Peter,'' 1514

File:Tommaso Laureti - Ceiling of Room of Constantine.jpg

''The Battle of Milvian Bridge'', 1520-1524

File:9 Estancia de Heliodoro (Vista general II).jpg

Raphael, ''Disputation of the Holy Sacrament'', 1509-1510

Image:Rafael - Virtudes Teologales y la Ley (Estancia del Sello, Vaticano, 1511).jpg

File:Raphael - Cardinal and Theological Virtues.jpg

File:Raphael - Ceiling of the Selling Room.jpg

File:2 Estancia del Sello (Vista general II).jpg

''The Baptism of Constantine'', 1517–1524

File:16 Estancia del Incendio del Borgo (Vista general II).jpg

''The Donation of Constantine'', 1520–1524

File:School of Raphael - Vision of the Cross.jpg

File:Giannfrancesco Penni - Baptism of Constantine.jpg

The Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.


Prompt: Fokussiere dich auf Die Anatomielektion von Dr. Nicolaes Tulp und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrant. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename (in its original form) as opposed to the monogram RHL (Rembrandt Harmenszoon of Leiden), and is thus a sign of his growing artistic confidence.


Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Die Anatomielektion von Dr. Nicolaes Tulp.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrant. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename (in its original form) as opposed to the monogram RHL (Rembrandt Harmenszoon of Leiden), and is thus a sign of his growing artistic confidence.


Prompt: Wie erläutert Die Anatomielektion von Dr. Nicolaes Tulp seine abstract?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrant. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename (in its original form) as opposed to the monogram RHL (Rembrandt Harmenszoon of Leiden), and is thus a sign of his growing artistic confidence.


Prompt: Wie wird die abstract in Die Anatomielektion von Dr. Nicolaes Tulp diskutiert?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrant. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename (in its original form) as opposed to the monogram RHL (Rembrandt Harmenszoon of Leiden), and is thus a sign of his growing artistic confidence.


Prompt: Fokussiere dich auf Die Anatomielektion von Dr. Nicolaes Tulp und erkunde erkläre die Hintergrund.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost (not holding the paper) and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures (in this case, Tulp) probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image (using Christ-like iconography) and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica (Fabric of the Human Body) by Andreas Vesalius.


Prompt: ErkundeErkläre die Hintergrund dieses Kunstwerks, Die Anatomielektion von Dr. Nicolaes Tulp.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost (not holding the paper) and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures (in this case, Tulp) probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image (using Christ-like iconography) and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica (Fabric of the Human Body) by Andreas Vesalius.


Prompt: Wie erläutert Die Anatomielektion von Dr. Nicolaes Tulp seine Hintergrund?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost (not holding the paper) and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures (in this case, Tulp) probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image (using Christ-like iconography) and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica (Fabric of the Human Body) by Andreas Vesalius.


Prompt: Wie wird die Hintergrund in Die Anatomielektion von Dr. Nicolaes Tulp diskutiert?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost (not holding the paper) and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures (in this case, Tulp) probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image (using Christ-like iconography) and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica (Fabric of the Human Body) by Andreas Vesalius.


Prompt: Fokussiere dich auf Die Anatomielektion von Dr. Nicolaes Tulp und erkunde erkläre die Die Leiche.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The corpse is that of the criminal Aris Kindt (alias of Adriaan Adriaanszoon), who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently.The French art historian Jean-Marie Clarke suggests that the navel of the corpse has the shape of a capital R and connects this observation to the fact that Rembrandt worked intensively on his signatures in 1632, using three types consecutively before settling on the final, first name form in 1633.Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.


Prompt: ErkundeErkläre die Die Leiche dieses Kunstwerks, Die Anatomielektion von Dr. Nicolaes Tulp.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The corpse is that of the criminal Aris Kindt (alias of Adriaan Adriaanszoon), who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently.The French art historian Jean-Marie Clarke suggests that the navel of the corpse has the shape of a capital R and connects this observation to the fact that Rembrandt worked intensively on his signatures in 1632, using three types consecutively before settling on the final, first name form in 1633.Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.


Prompt: Wie erläutert Die Anatomielektion von Dr. Nicolaes Tulp seine Die Leiche?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The corpse is that of the criminal Aris Kindt (alias of Adriaan Adriaanszoon), who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently.The French art historian Jean-Marie Clarke suggests that the navel of the corpse has the shape of a capital R and connects this observation to the fact that Rembrandt worked intensively on his signatures in 1632, using three types consecutively before settling on the final, first name form in 1633.Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.


Prompt: Wie wird die Die Leiche in Die Anatomielektion von Dr. Nicolaes Tulp diskutiert?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The corpse is that of the criminal Aris Kindt (alias of Adriaan Adriaanszoon), who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis (shadow of death), a technique that Rembrandt was to use frequently.The French art historian Jean-Marie Clarke suggests that the navel of the corpse has the shape of a capital R and connects this observation to the fact that Rembrandt worked intensively on his signatures in 1632, using three types consecutively before settling on the final, first name form in 1633.Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.


Prompt: Fokussiere dich auf Die Anatomielektion von Dr. Nicolaes Tulp und erkunde erkläre die Verwandte Arbeiten.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.


Prompt: ErkundeErkläre die Verwandte Arbeiten dieses Kunstwerks, Die Anatomielektion von Dr. Nicolaes Tulp.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.


Prompt: Wie erläutert Die Anatomielektion von Dr. Nicolaes Tulp seine Verwandte Arbeiten?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.


Prompt: Wie wird die Verwandte Arbeiten in Die Anatomielektion von Dr. Nicolaes Tulp diskutiert?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.


Prompt: Fokussiere dich auf Die Anatomielektion von Dr. Nicolaes Tulp und erkunde erkläre die In der Popkultur.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

In Asterix and the Soothsayer (1972), Uderzo and Goscinny reference the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague (the protagonist) when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator (a young man) and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in line with the game's themes of transhumanism.Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Tulp's hat in the painting.


Prompt: ErkundeErkläre die In der Popkultur dieses Kunstwerks, Die Anatomielektion von Dr. Nicolaes Tulp.Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

In Asterix and the Soothsayer (1972), Uderzo and Goscinny reference the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague (the protagonist) when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator (a young man) and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in line with the game's themes of transhumanism.Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Tulp's hat in the painting.


Prompt: Wie erläutert Die Anatomielektion von Dr. Nicolaes Tulp seine In der Popkultur?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

In Asterix and the Soothsayer (1972), Uderzo and Goscinny reference the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague (the protagonist) when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator (a young man) and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in line with the game's themes of transhumanism.Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Tulp's hat in the painting.


Prompt: Wie wird die In der Popkultur in Die Anatomielektion von Dr. Nicolaes Tulp diskutiert?Bitte auf Englisch ausgeben.

The corpse's navel is formed from the letter ''R''

Category:Cultural depictions of Dutch people

File:Dr Deijman’s Anatomy Lesson (fragment), by Rembrandt.jpg

''The Anatomy Lesson of Dr Nicolaes Tulp'' (The University of Edinburgh Fine Art)

File:EU464 Unknown after Rembrandt - The Anatomy lesson of Dr Tulp.jpg

Category:Cultural depictions of physicians

Rembrandt: ''[[The Anatomy Lesson of Dr. Deijman

Category:Biology and natural history in the Dutch Republic

In Asterix and the Soothsayer (1972), Uderzo and Goscinny reference the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague (the protagonist) when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator (a young man) and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in line with the game's themes of transhumanism.Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Tulp's hat in the painting.


Die Kartoffelesser

Prompt: Fokussiere dich auf Die Kartoffelesser und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.


Die Kartoffelesser

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Die Kartoffelesser.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.


Die Kartoffelesser

Prompt: Wie erläutert Die Kartoffelesser seine abstract?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.


Die Kartoffelesser

Prompt: Wie wird die abstract in Die Kartoffelesser diskutiert?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.


Die Kartoffelesser

Prompt: Fokussiere dich auf Die Kartoffelesser und erkunde erkläre die Komposition.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.


Die Kartoffelesser

Prompt: ErkundeErkläre die Komposition dieses Kunstwerks, Die Kartoffelesser.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.


Die Kartoffelesser

Prompt: Wie erläutert Die Kartoffelesser seine Komposition?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.


Die Kartoffelesser

Prompt: Wie wird die Komposition in Die Kartoffelesser diskutiert?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.


Die Kartoffelesser

Prompt: Fokussiere dich auf Die Kartoffelesser und erkunde erkläre die Lithografie.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.


Die Kartoffelesser

Prompt: ErkundeErkläre die Lithografie dieses Kunstwerks, Die Kartoffelesser.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.


Die Kartoffelesser

Prompt: Wie erläutert Die Kartoffelesser seine Lithografie?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.


Die Kartoffelesser

Prompt: Wie wird die Lithografie in Die Kartoffelesser diskutiert?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.


Die Kartoffelesser

Prompt: Fokussiere dich auf Die Kartoffelesser und erkunde erkläre die Einfluss der Haager Schule.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.


Die Kartoffelesser

Prompt: ErkundeErkläre die Einfluss der Haager Schule dieses Kunstwerks, Die Kartoffelesser.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.


Die Kartoffelesser

Prompt: Wie erläutert Die Kartoffelesser seine Einfluss der Haager Schule?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.


Die Kartoffelesser

Prompt: Wie wird die Einfluss der Haager Schule in Die Kartoffelesser diskutiert?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.


Die Kartoffelesser

Prompt: Fokussiere dich auf Die Kartoffelesser und erkunde erkläre die Diebstahl.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.


Die Kartoffelesser

Prompt: ErkundeErkläre die Diebstahl dieses Kunstwerks, Die Kartoffelesser.Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.


Die Kartoffelesser

Prompt: Wie erläutert Die Kartoffelesser seine Diebstahl?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.


Die Kartoffelesser

Prompt: Wie wird die Diebstahl in Die Kartoffelesser diskutiert?Bitte auf Englisch ausgeben.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.


Porträt von Adele Bloch-Bauer I

Prompt: Fokussiere dich auf Porträt von Adele Bloch-Bauer I und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.


Porträt von Adele Bloch-Bauer I

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Porträt von Adele Bloch-Bauer I.Bitte auf Englisch ausgeben.

United States District Court for the Central District of California

Gustav Klimt#Golden phase and critical success

''Portrait of Fritza Riedler'' (1906), exhibited and criticised alongside the ''Portrait of Adele Bloch-Bauer'' in 1907

Public poster concerning the departure of the painting from Austria

The decorative motifs: symbols suggestive of [[erotica

Detail showing the jewelled choker given to [[Maria Altmann

File:Adele Bloch-Bauer (detail of motifs).jpg

Exposition Internationale des Arts et Techniques dans la Vie Moderne

File:Klimt - Bildnis Fritza Riedler - 1906.jpeg

Category:Paintings in the Neue Galerie New York

File:Adele Bloch-Bauer (detail of face).jpg

Klimt's ''Schloss Kammer am Attersee III'' (1910), which was swapped for the ''Portrait of Adele Bloch-Bauer I''

Portrait of Adele Bloch-Bauer I (also called The Lady in Gold or The Woman in Gold) is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135 million, at the time a record price for a painting to the businessman and art collector Ronald Lauder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.