Die Kugel

Prompt: Im Kontext von Die Kugel, erkunde erkläre die Umzug nach Battery Park und die Umsiedlung nach dem 11. September.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.


Die Kugel

Prompt: Erkunde Erkläre die Umzug nach Battery Park über die Umsiedlung nach dem 11. September dieses Kunstwerks, Die Kugel.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.


Die Kugel

Prompt: In Die Kugel, wie wird die Umzug nach Battery Park der Umsiedlung nach dem 11. September erläutert?Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.


Die Kugel

Prompt: Beschreibe die Merkmale der Umzug nach Battery Park in  der Die Kugel's Umsiedlung nach dem 11. September von Die Kugel.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.


Die Kugel

Prompt: Im Kontext von Die Kugel, erkunde erkläre die Umzug zum Liberty Park und die Umsiedlung nach dem 11. September.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate.When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.


Die Kugel

Prompt: Erkunde Erkläre die Umzug zum Liberty Park über die Umsiedlung nach dem 11. September dieses Kunstwerks, Die Kugel.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate.When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.


Die Kugel

Prompt: In Die Kugel, wie wird die Umzug zum Liberty Park der Umsiedlung nach dem 11. September erläutert?Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate.When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.


Die Kugel

Prompt: Beschreibe die Merkmale der Umzug zum Liberty Park in  der Die Kugel's Umsiedlung nach dem 11. September von Die Kugel.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate.When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.


Die Kugel

Prompt: Im Kontext von Die Kugel, erkunde erkläre die Dokumentarfilm und die Medien.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

In his documentary Koenigs Kugel – der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero ("Koenig's Sphere"), the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere's origin and talks about transience and the transformation of art following the attacks.


Die Kugel

Prompt: Erkunde Erkläre die Dokumentarfilm über die Medien dieses Kunstwerks, Die Kugel.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

In his documentary Koenigs Kugel – der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero ("Koenig's Sphere"), the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere's origin and talks about transience and the transformation of art following the attacks.


Die Kugel

Prompt: In Die Kugel, wie wird die Dokumentarfilm der Medien erläutert?Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

In his documentary Koenigs Kugel – der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero ("Koenig's Sphere"), the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere's origin and talks about transience and the transformation of art following the attacks.


Die Kugel

Prompt: Beschreibe die Merkmale der Dokumentarfilm in  der Die Kugel's Medien von Die Kugel.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

In his documentary Koenigs Kugel – der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero ("Koenig's Sphere"), the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere's origin and talks about transience and the transformation of art following the attacks.


Die Kugel

Prompt: Im Kontext von Die Kugel, erkunde erkläre die Buch und die Medien.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

A limited edition of the book THE SPHERE – Vom Kunstwerk zum Mahnmal / THE SPHERE – From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.


Die Kugel

Prompt: Erkunde Erkläre die Buch über die Medien dieses Kunstwerks, Die Kugel.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

A limited edition of the book THE SPHERE – Vom Kunstwerk zum Mahnmal / THE SPHERE – From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.


Die Kugel

Prompt: In Die Kugel, wie wird die Buch der Medien erläutert?Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

A limited edition of the book THE SPHERE – Vom Kunstwerk zum Mahnmal / THE SPHERE – From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.


Die Kugel

Prompt: Beschreibe die Merkmale der Buch in  der Die Kugel's Medien von Die Kugel.Bitte auf Englisch ausgeben.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

A limited edition of the book THE SPHERE – Vom Kunstwerk zum Mahnmal / THE SPHERE – From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.


Der Tod des Marat

Prompt: Fokussiere dich auf Der Tod des Marat und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.


Der Tod des Marat

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Der Tod des Marat.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.


Der Tod des Marat

Prompt: Wie erläutert Der Tod des Marat seine abstract?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.


Der Tod des Marat

Prompt: Wie wird die abstract in Der Tod des Marat diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.


Der Tod des Marat

Prompt: Fokussiere dich auf Der Tod des Marat und erkunde erkläre die Die Ermordung von Marat.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances (historical records disagree on her ostensible reason for meeting with Marat).Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.


Der Tod des Marat

Prompt: ErkundeErkläre die Die Ermordung von Marat dieses Kunstwerks, Der Tod des Marat.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances (historical records disagree on her ostensible reason for meeting with Marat).Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.


Der Tod des Marat

Prompt: Wie erläutert Der Tod des Marat seine Die Ermordung von Marat?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances (historical records disagree on her ostensible reason for meeting with Marat).Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.


Der Tod des Marat

Prompt: Wie wird die Die Ermordung von Marat in Der Tod des Marat diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances (historical records disagree on her ostensible reason for meeting with Marat).Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.


Der Tod des Marat

Prompt: Fokussiere dich auf Der Tod des Marat und erkunde erkläre die Davids Politik.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.


Der Tod des Marat

Prompt: ErkundeErkläre die Davids Politik dieses Kunstwerks, Der Tod des Marat.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.


Der Tod des Marat

Prompt: Wie erläutert Der Tod des Marat seine Davids Politik?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.


Der Tod des Marat

Prompt: Wie wird die Davids Politik in Der Tod des Marat diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.


Der Tod des Marat

Prompt: Fokussiere dich auf Der Tod des Marat und erkunde erkläre die Stil.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.


Der Tod des Marat

Prompt: ErkundeErkläre die Stil dieses Kunstwerks, Der Tod des Marat.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.


Der Tod des Marat

Prompt: Wie erläutert Der Tod des Marat seine Stil?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.


Der Tod des Marat

Prompt: Wie wird die Stil in Der Tod des Marat diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.


Der Tod des Marat

Prompt: Fokussiere dich auf Der Tod des Marat und erkunde erkläre die Spätere Geschichte.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets (Alessandro Mozzambani) and writers (Peter Weiss' play Marat/Sade).  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.


Der Tod des Marat

Prompt: ErkundeErkläre die Spätere Geschichte dieses Kunstwerks, Der Tod des Marat.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets (Alessandro Mozzambani) and writers (Peter Weiss' play Marat/Sade).  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.


Der Tod des Marat

Prompt: Wie erläutert Der Tod des Marat seine Spätere Geschichte?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets (Alessandro Mozzambani) and writers (Peter Weiss' play Marat/Sade).  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.


Der Tod des Marat

Prompt: Wie wird die Spätere Geschichte in Der Tod des Marat diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets (Alessandro Mozzambani) and writers (Peter Weiss' play Marat/Sade).  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.


Der Tod des Marat

Prompt: Fokussiere dich auf Der Tod des Marat und erkunde erkläre die In der Popkultur.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

In 1897, the French director Georges Hatot made a movie entitled La Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon.The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting.Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait.Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel (but writing here with a typewriter), slouches back in his tub, one arm extended outside the tub.Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste Land. The picture is prominently featured on the DVD cover.Steve Goodman re-created the painting (with himself in place of Marat) for the cover of his 1977 album Say It in Private.The painting is recreated in The Red Violin (1998), in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand.In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter, recreating David's painting.The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness.The painting was used as the album art for American band The New Regime’s 2008 album  Coup.In the 23 October 2008, episode of CSI: Crime Scene Investigation (Season 9, Episode 3 - "Art Imitates Life") a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting.In 2013, it was gender-swapped with Lady Gaga in Marat's spot for ARTPOP. MTVThe painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa MoshfeghThe painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive".The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat.Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix (band). YouTube


Der Tod des Marat

Prompt: ErkundeErkläre die In der Popkultur dieses Kunstwerks, Der Tod des Marat.Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

In 1897, the French director Georges Hatot made a movie entitled La Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon.The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting.Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait.Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel (but writing here with a typewriter), slouches back in his tub, one arm extended outside the tub.Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste Land. The picture is prominently featured on the DVD cover.Steve Goodman re-created the painting (with himself in place of Marat) for the cover of his 1977 album Say It in Private.The painting is recreated in The Red Violin (1998), in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand.In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter, recreating David's painting.The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness.The painting was used as the album art for American band The New Regime’s 2008 album  Coup.In the 23 October 2008, episode of CSI: Crime Scene Investigation (Season 9, Episode 3 - "Art Imitates Life") a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting.In 2013, it was gender-swapped with Lady Gaga in Marat's spot for ARTPOP. MTVThe painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa MoshfeghThe painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive".The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat.Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix (band). YouTube


Der Tod des Marat

Prompt: Wie erläutert Der Tod des Marat seine In der Popkultur?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

In 1897, the French director Georges Hatot made a movie entitled La Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon.The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting.Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait.Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel (but writing here with a typewriter), slouches back in his tub, one arm extended outside the tub.Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste Land. The picture is prominently featured on the DVD cover.Steve Goodman re-created the painting (with himself in place of Marat) for the cover of his 1977 album Say It in Private.The painting is recreated in The Red Violin (1998), in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand.In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter, recreating David's painting.The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness.The painting was used as the album art for American band The New Regime’s 2008 album  Coup.In the 23 October 2008, episode of CSI: Crime Scene Investigation (Season 9, Episode 3 - "Art Imitates Life") a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting.In 2013, it was gender-swapped with Lady Gaga in Marat's spot for ARTPOP. MTVThe painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa MoshfeghThe painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive".The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat.Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix (band). YouTube


Der Tod des Marat

Prompt: Wie wird die In der Popkultur in Der Tod des Marat diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang

In 1897, the French director Georges Hatot made a movie entitled La Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon.The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting.Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait.Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel (but writing here with a typewriter), slouches back in his tub, one arm extended outside the tub.Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste Land. The picture is prominently featured on the DVD cover.Steve Goodman re-created the painting (with himself in place of Marat) for the cover of his 1977 album Say It in Private.The painting is recreated in The Red Violin (1998), in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand.In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter, recreating David's painting.The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness.The painting was used as the album art for American band The New Regime’s 2008 album  Coup.In the 23 October 2008, episode of CSI: Crime Scene Investigation (Season 9, Episode 3 - "Art Imitates Life") a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting.In 2013, it was gender-swapped with Lady Gaga in Marat's spot for ARTPOP. MTVThe painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa MoshfeghThe painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive".The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat.Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix (band). YouTube


Salon der Verwehrten

Prompt: Fokussiere dich auf Salon der Verwehrten und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg

The Salon des Refusés, French for "exhibition of rejects" (French pronunciation: [salɔ̃ de ʁəfyze]), is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.


Salon der Verwehrten

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Salon der Verwehrten.Bitte auf Englisch ausgeben.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg

The Salon des Refusés, French for "exhibition of rejects" (French pronunciation: [salɔ̃ de ʁəfyze]), is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.


Salon der Verwehrten

Prompt: Wie erläutert Salon der Verwehrten seine abstract?Bitte auf Englisch ausgeben.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg

The Salon des Refusés, French for "exhibition of rejects" (French pronunciation: [salɔ̃ de ʁəfyze]), is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.


Salon der Verwehrten

Prompt: Wie wird die abstract in Salon der Verwehrten diskutiert?Bitte auf Englisch ausgeben.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg

The Salon des Refusés, French for "exhibition of rejects" (French pronunciation: [salɔ̃ de ʁəfyze]), is generally known as an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863.Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show.


Salon der Verwehrten

Prompt: Fokussiere dich auf Salon der Verwehrten und erkunde erkläre die Hintergrund des Salons von 1863.Bitte auf Englisch ausgeben.

File:Palais de l'Industrie - Édouard Baldus.jpg

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was an exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.


Salon der Verwehrten

Prompt: ErkundeErkläre die Hintergrund des Salons von 1863 dieses Kunstwerks, Salon der Verwehrten.Bitte auf Englisch ausgeben.

File:Palais de l'Industrie - Édouard Baldus.jpg

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was an exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.


Salon der Verwehrten

Prompt: Wie erläutert Salon der Verwehrten seine Hintergrund des Salons von 1863?Bitte auf Englisch ausgeben.

File:Palais de l'Industrie - Édouard Baldus.jpg

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was an exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.


Salon der Verwehrten

Prompt: Wie wird die Hintergrund des Salons von 1863 in Salon der Verwehrten diskutiert?Bitte auf Englisch ausgeben.

File:Palais de l'Industrie - Édouard Baldus.jpg

The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was an exhibition of the best academic art.  A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions.  Since the 18th century, the paintings were classified by genre, following a hierarchy;  history paintings were ranked first, followed by the portrait, the landscape, the "genre scene" and the still life.  The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected.Much intrigue often went on to get acceptance, and to be given a good place in the galleries.  In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans, and in 1852 his Baigneuses was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings.  As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors.  Courbet was obliged to organize his own exhibit, called The Pavillon of Realism, at a private gallery.  Private exhibits attracted far less attention from the press and patrons, and limited the access of the artists to a small public.In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet,  Édouard Manet, Camille Pissarro, Antoine Chintreuil, and Johan Jongkind. The rejected artists and their friends protested, and the protests reached Emperor Napoleon III. The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter, but he was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition.  His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry."More than a thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés, which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl. The critical attention also legitimized the emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism.


Salon der Verwehrten

Prompt: Im Kontext von Salon der Verwehrten, erkunde erkläre die Das Frühstück im Grünen und die Werke in der Ausstellung.Bitte auf Englisch ausgeben.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:The Luncheon on the Grass is the greatest work of Édouard Manet, one in which he realizes the dream of all painters: to place figures of natural grandeur in a landscape.  We know the power with which he vanquished this difficulty.  There are some leaves, some tree trunks, and, in the background, a river in which a chemise-wearing woman bathes; in the foreground, two young men are seated across from a second woman who has just exited the water and who dries her naked skin in the open air.  This nude woman has scandalized the public, who see only her in the canvas.  My God!  What indecency: a woman without the slightest covering between two clothed men!  That has never been seen.  And this belief is a gross error, for in the Louvre there are more than fifty paintings in which are found mixes of persons clothed and nude.  But no one goes to the Louvre to be scandalized.  The crowd has kept itself moreover from judging The Luncheon on the Grass like a veritable work of art should be judged; they see in it only some people who are having a picnic, finishing bathing, and they believed that the artist had placed an obscene intent in the disposition of the subject, while the artist had simply sought to obtain vibrant oppositions and a straightforward audience.  Painters, especially Édouard Manet, who is an analytic painter, do not have this preoccupation with the subject which torments the crowd above all; the subject, for them, is merely a pretext to paint, while for the crowd, the subject alone exists.  Thus, assuredly, the nude woman of The Luncheon on the Grass is only there to furnish the artist the occasion to paint a bit of flesh.  That which must be seen in the painting is not a luncheon on the grass; it is the entire landscape, with its vigors and its finesses, with its foregrounds so large, so solid, and its backgrounds of a light delicateness; it is this firm modeled flesh under great spots of light, these tissues supple and strong, and particularly this delicious silhouette of a woman wearing a chemise who makes, in the background, an adorable dapple of white in the milieu of green leaves.  It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all the particular and rare elements which are in him.Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre (The Masterpiece) (1886).


Salon der Verwehrten

Prompt: Erkunde Erkläre die Das Frühstück im Grünen über die Werke in der Ausstellung dieses Kunstwerks, Salon der Verwehrten.Bitte auf Englisch ausgeben.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:The Luncheon on the Grass is the greatest work of Édouard Manet, one in which he realizes the dream of all painters: to place figures of natural grandeur in a landscape.  We know the power with which he vanquished this difficulty.  There are some leaves, some tree trunks, and, in the background, a river in which a chemise-wearing woman bathes; in the foreground, two young men are seated across from a second woman who has just exited the water and who dries her naked skin in the open air.  This nude woman has scandalized the public, who see only her in the canvas.  My God!  What indecency: a woman without the slightest covering between two clothed men!  That has never been seen.  And this belief is a gross error, for in the Louvre there are more than fifty paintings in which are found mixes of persons clothed and nude.  But no one goes to the Louvre to be scandalized.  The crowd has kept itself moreover from judging The Luncheon on the Grass like a veritable work of art should be judged; they see in it only some people who are having a picnic, finishing bathing, and they believed that the artist had placed an obscene intent in the disposition of the subject, while the artist had simply sought to obtain vibrant oppositions and a straightforward audience.  Painters, especially Édouard Manet, who is an analytic painter, do not have this preoccupation with the subject which torments the crowd above all; the subject, for them, is merely a pretext to paint, while for the crowd, the subject alone exists.  Thus, assuredly, the nude woman of The Luncheon on the Grass is only there to furnish the artist the occasion to paint a bit of flesh.  That which must be seen in the painting is not a luncheon on the grass; it is the entire landscape, with its vigors and its finesses, with its foregrounds so large, so solid, and its backgrounds of a light delicateness; it is this firm modeled flesh under great spots of light, these tissues supple and strong, and particularly this delicious silhouette of a woman wearing a chemise who makes, in the background, an adorable dapple of white in the milieu of green leaves.  It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all the particular and rare elements which are in him.Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre (The Masterpiece) (1886).


Salon der Verwehrten

Prompt: In Salon der Verwehrten, wie wird die Das Frühstück im Grünen der Werke in der Ausstellung erläutert?Bitte auf Englisch ausgeben.

Symphony in White, No. 1: The White Girl

File:Palais de l'Industrie - Édouard Baldus.jpg

Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in the 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust's Remembrance of Things Past.One interpretation of the work is that it depicts the rampant prostitution in the Bois de Boulogne, a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting.Émile Zola comments about Déjeuner sur l'herbe:The Luncheon on the Grass is the greatest work of Édouard Manet, one in which he realizes the dream of all painters: to place figures of natural grandeur in a landscape.  We know the power with which he vanquished this difficulty.  There are some leaves, some tree trunks, and, in the background, a river in which a chemise-wearing woman bathes; in the foreground, two young men are seated across from a second woman who has just exited the water and who dries her naked skin in the open air.  This nude woman has scandalized the public, who see only her in the canvas.  My God!  What indecency: a woman without the slightest covering between two clothed men!  That has never been seen.  And this belief is a gross error, for in the Louvre there are more than fifty paintings in which are found mixes of persons clothed and nude.  But no one goes to the Louvre to be scandalized.  The crowd has kept itself moreover from judging The Luncheon on the Grass like a veritable work of art should be judged; they see in it only some people who are having a picnic, finishing bathing, and they believed that the artist had placed an obscene intent in the disposition of the subject, while the artist had simply sought to obtain vibrant oppositions and a straightforward audience.  Painters, especially Édouard Manet, who is an analytic painter, do not have this preoccupation with the subject which torments the crowd above all; the subject, for them, is merely a pretext to paint, while for the crowd, the subject alone exists.  Thus, assuredly, the nude woman of The Luncheon on the Grass is only there to furnish the artist the occasion to paint a bit of flesh.  That which must be seen in the painting is not a luncheon on the grass; it is the entire landscape, with its vigors and its finesses, with its foregrounds so large, so solid, and its backgrounds of a light delicateness; it is this firm modeled flesh under great spots of light, these tissues supple and strong, and particularly this delicious silhouette of a woman wearing a chemise who makes, in the background, an adorable dapple of white in the milieu of green leaves.  It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all the particular and rare elements which are in him.Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre (The Masterpiece) (1886).