Die drei Philosophen

Prompt: ErkundeErkläre die Theatrum Pictorium dieses Kunstwerks, Die drei Philosophen.Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9 cm.


Die drei Philosophen

Prompt: Wie erläutert Die drei Philosophen seine Theatrum Pictorium?Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9 cm.


Die drei Philosophen

Prompt: Wie wird die Theatrum Pictorium in Die drei Philosophen diskutiert?Bitte auf Englisch ausgeben.

Gallery of Archduke Leopold Wilhelm in Brussels (Petworth)

Category:Paintings in the collection of the Archduke Leopold Wilhelm of Austria

Category:Cultural depictions of philosophers

Category:Paintings in the Kunsthistorisches Museum

''Archduke Leopold Wilhelm and the artist in the archducal picture gallery in Brussels''. The painting shows rather faithfully the original painting as displayed in the dukes collection, high up left corner, by [[David Teniers the Younger

File:David Teniers the Younger - Archduke Leopold William in his Gallery at Brussels - Google Art Project.jpg

This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9 cm.


Musik in den Tuilerien

Prompt: Fokussiere dich auf Musik in den Tuilerien und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

Music in the Tuileries is an 1862 oil-on-canvas painting by Édouard Manet. It is owned by the National Gallery, London and the Hugh Lane Gallery, Dublin as part of the shared Lane Bequest.The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-Latour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures 76.2 × 118.1 centimetres (30.0 × 46.5 in). It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh Lane in 1903. After Lane's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery (now known as The Hugh Lane). The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the Lane Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.


Musik in den Tuilerien

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Musik in den Tuilerien.Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

Music in the Tuileries is an 1862 oil-on-canvas painting by Édouard Manet. It is owned by the National Gallery, London and the Hugh Lane Gallery, Dublin as part of the shared Lane Bequest.The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-Latour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures 76.2 × 118.1 centimetres (30.0 × 46.5 in). It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh Lane in 1903. After Lane's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery (now known as The Hugh Lane). The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the Lane Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.


Musik in den Tuilerien

Prompt: Wie erläutert Musik in den Tuilerien seine abstract?Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

Music in the Tuileries is an 1862 oil-on-canvas painting by Édouard Manet. It is owned by the National Gallery, London and the Hugh Lane Gallery, Dublin as part of the shared Lane Bequest.The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-Latour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures 76.2 × 118.1 centimetres (30.0 × 46.5 in). It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh Lane in 1903. After Lane's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery (now known as The Hugh Lane). The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the Lane Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.


Musik in den Tuilerien

Prompt: Wie wird die abstract in Musik in den Tuilerien diskutiert?Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

Music in the Tuileries is an 1862 oil-on-canvas painting by Édouard Manet. It is owned by the National Gallery, London and the Hugh Lane Gallery, Dublin as part of the shared Lane Bequest.The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-Latour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures 76.2 × 118.1 centimetres (30.0 × 46.5 in). It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh Lane in 1903. After Lane's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery (now known as The Hugh Lane). The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the Lane Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.


Musik in den Tuilerien

Prompt: Fokussiere dich auf Musik in den Tuilerien und erkunde erkläre die Malmaterialien.Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.


Musik in den Tuilerien

Prompt: ErkundeErkläre die Malmaterialien dieses Kunstwerks, Musik in den Tuilerien.Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.


Musik in den Tuilerien

Prompt: Wie erläutert Musik in den Tuilerien seine Malmaterialien?Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.


Musik in den Tuilerien

Prompt: Wie wird die Malmaterialien in Musik in den Tuilerien diskutiert?Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.


Musik in den Tuilerien

Prompt: Fokussiere dich auf Musik in den Tuilerien und erkunde erkläre die Empfang.Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.


Musik in den Tuilerien

Prompt: ErkundeErkläre die Empfang dieses Kunstwerks, Musik in den Tuilerien.Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.


Musik in den Tuilerien

Prompt: Wie erläutert Musik in den Tuilerien seine Empfang?Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.


Musik in den Tuilerien

Prompt: Wie wird die Empfang in Musik in den Tuilerien diskutiert?Bitte auf Englisch ausgeben.

Category:Cultural depictions of Charles Baudelaire

Category:Paintings in the National Gallery, London

Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, "it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.


Frau mit einer Waage

Prompt: Fokussiere dich auf Frau mit einer Waage und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

Woman Holding a Balance (Dutch: Vrouw met weegschaal), also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.


Frau mit einer Waage

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Frau mit einer Waage.Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

Woman Holding a Balance (Dutch: Vrouw met weegschaal), also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.


Frau mit einer Waage

Prompt: Wie erläutert Frau mit einer Waage seine abstract?Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

Woman Holding a Balance (Dutch: Vrouw met weegschaal), also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.


Frau mit einer Waage

Prompt: Wie wird die abstract in Frau mit einer Waage diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

Woman Holding a Balance (Dutch: Vrouw met weegschaal), also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.


Frau mit einer Waage

Prompt: Fokussiere dich auf Frau mit einer Waage und erkunde erkläre die Thema.Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the Last Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal (2005), the image has been variously "interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life." Some viewers have imagined the woman is weighing her valuables, while others compare her actions to Christ's, reading parable into the pearls. Some art critics, including John Michael Montias who describes her as "symbolically weighing unborn souls", have seen the woman as a figure of Mary. To some critics who perceive her as measuring her valuables, the juxtaposition with the final judgement suggests that the woman should be focusing on the treasures of Heaven rather than those of Earth, with the mirror on the wall reinforcing the vanity of her pursuits. Other historians have suggested that the balance represents her careful harmonization of worldly possessions and spiritual piety. In this interpretation, the mirror on the wall reflects the woman's self-knowledge.


Frau mit einer Waage

Prompt: ErkundeErkläre die Thema dieses Kunstwerks, Frau mit einer Waage.Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the Last Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal (2005), the image has been variously "interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life." Some viewers have imagined the woman is weighing her valuables, while others compare her actions to Christ's, reading parable into the pearls. Some art critics, including John Michael Montias who describes her as "symbolically weighing unborn souls", have seen the woman as a figure of Mary. To some critics who perceive her as measuring her valuables, the juxtaposition with the final judgement suggests that the woman should be focusing on the treasures of Heaven rather than those of Earth, with the mirror on the wall reinforcing the vanity of her pursuits. Other historians have suggested that the balance represents her careful harmonization of worldly possessions and spiritual piety. In this interpretation, the mirror on the wall reflects the woman's self-knowledge.


Frau mit einer Waage

Prompt: Wie erläutert Frau mit einer Waage seine Thema?Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the Last Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal (2005), the image has been variously "interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life." Some viewers have imagined the woman is weighing her valuables, while others compare her actions to Christ's, reading parable into the pearls. Some art critics, including John Michael Montias who describes her as "symbolically weighing unborn souls", have seen the woman as a figure of Mary. To some critics who perceive her as measuring her valuables, the juxtaposition with the final judgement suggests that the woman should be focusing on the treasures of Heaven rather than those of Earth, with the mirror on the wall reinforcing the vanity of her pursuits. Other historians have suggested that the balance represents her careful harmonization of worldly possessions and spiritual piety. In this interpretation, the mirror on the wall reflects the woman's self-knowledge.


Frau mit einer Waage

Prompt: Wie wird die Thema in Frau mit einer Waage diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the Last Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal (2005), the image has been variously "interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life." Some viewers have imagined the woman is weighing her valuables, while others compare her actions to Christ's, reading parable into the pearls. Some art critics, including John Michael Montias who describes her as "symbolically weighing unborn souls", have seen the woman as a figure of Mary. To some critics who perceive her as measuring her valuables, the juxtaposition with the final judgement suggests that the woman should be focusing on the treasures of Heaven rather than those of Earth, with the mirror on the wall reinforcing the vanity of her pursuits. Other historians have suggested that the balance represents her careful harmonization of worldly possessions and spiritual piety. In this interpretation, the mirror on the wall reflects the woman's self-knowledge.


Frau mit einer Waage

Prompt: Fokussiere dich auf Frau mit einer Waage und erkunde erkläre die Geschichte.Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177).


Frau mit einer Waage

Prompt: ErkundeErkläre die Geschichte dieses Kunstwerks, Frau mit einer Waage.Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177).


Frau mit einer Waage

Prompt: Wie erläutert Frau mit einer Waage seine Geschichte?Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177).


Frau mit einer Waage

Prompt: Wie wird die Geschichte in Frau mit einer Waage diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius (1653–1695). It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table (62) and The Officer and the Laughing Girl (approximately 44), but somewhat below The Milkmaid (177).


Frau mit einer Waage

Prompt: Fokussiere dich auf Frau mit einer Waage und erkunde erkläre die Malmaterialien.Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.


Frau mit einer Waage

Prompt: ErkundeErkläre die Malmaterialien dieses Kunstwerks, Frau mit einer Waage.Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.


Frau mit einer Waage

Prompt: Wie erläutert Frau mit einer Waage seine Malmaterialien?Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.


Frau mit einer Waage

Prompt: Wie wird die Malmaterialien in Frau mit einer Waage diskutiert?Bitte auf Englisch ausgeben.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer

The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller (1974) and M.E. Gifford (1994) have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.


Die Königs-Fahd-Quelle

Prompt: Fokussiere dich auf Die Königs-Fahd-Quelle und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

King Fahd's Fountain (Arabic: نافورة الملك فهد), also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.


Die Königs-Fahd-Quelle

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Die Königs-Fahd-Quelle.Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

King Fahd's Fountain (Arabic: نافورة الملك فهد), also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.


Die Königs-Fahd-Quelle

Prompt: Wie erläutert Die Königs-Fahd-Quelle seine abstract?Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

King Fahd's Fountain (Arabic: نافورة الملك فهد), also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.


Die Königs-Fahd-Quelle

Prompt: Wie wird die abstract in Die Königs-Fahd-Quelle diskutiert?Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

King Fahd's Fountain (Arabic: نافورة الملك فهد), also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.


Die Königs-Fahd-Quelle

Prompt: Fokussiere dich auf Die Königs-Fahd-Quelle und erkunde erkläre die Überblick.Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of 260 metres (853 ft). The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of 202 m (663 ft).King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world.The fountain is visible throughout the vicinity of Jeddah. The water ejected can reach a speed of 375 km/h (233 mph) and its airborne mass can exceed 16 tonnes (18 short tons). The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.


Die Königs-Fahd-Quelle

Prompt: ErkundeErkläre die Überblick dieses Kunstwerks, Die Königs-Fahd-Quelle.Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of 260 metres (853 ft). The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of 202 m (663 ft).King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world.The fountain is visible throughout the vicinity of Jeddah. The water ejected can reach a speed of 375 km/h (233 mph) and its airborne mass can exceed 16 tonnes (18 short tons). The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.


Die Königs-Fahd-Quelle

Prompt: Wie erläutert Die Königs-Fahd-Quelle seine Überblick?Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of 260 metres (853 ft). The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of 202 m (663 ft).King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world.The fountain is visible throughout the vicinity of Jeddah. The water ejected can reach a speed of 375 km/h (233 mph) and its airborne mass can exceed 16 tonnes (18 short tons). The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.


Die Königs-Fahd-Quelle

Prompt: Wie wird die Überblick in Die Königs-Fahd-Quelle diskutiert?Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of 260 metres (853 ft). The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of 202 m (663 ft).King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world.The fountain is visible throughout the vicinity of Jeddah. The water ejected can reach a speed of 375 km/h (233 mph) and its airborne mass can exceed 16 tonnes (18 short tons). The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.


Die Königs-Fahd-Quelle

Prompt: Fokussiere dich auf Die Königs-Fahd-Quelle und erkunde erkläre die Geschichte.Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain (length 140 meters, pumping speed 124 mph), but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters (1024 feet).Team Red Bull Air Force base jumper Othar Lawrence set a global record by making a historic jump along the fountain.


Die Königs-Fahd-Quelle

Prompt: ErkundeErkläre die Geschichte dieses Kunstwerks, Die Königs-Fahd-Quelle.Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain (length 140 meters, pumping speed 124 mph), but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters (1024 feet).Team Red Bull Air Force base jumper Othar Lawrence set a global record by making a historic jump along the fountain.


Die Königs-Fahd-Quelle

Prompt: Wie erläutert Die Königs-Fahd-Quelle seine Geschichte?Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain (length 140 meters, pumping speed 124 mph), but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters (1024 feet).Team Red Bull Air Force base jumper Othar Lawrence set a global record by making a historic jump along the fountain.


Die Königs-Fahd-Quelle

Prompt: Wie wird die Geschichte in Die Königs-Fahd-Quelle diskutiert?Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain (length 140 meters, pumping speed 124 mph), but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters (1024 feet).Team Red Bull Air Force base jumper Othar Lawrence set a global record by making a historic jump along the fountain.


Die Königs-Fahd-Quelle

Prompt: Fokussiere dich auf Die Königs-Fahd-Quelle und erkunde erkläre die Design.Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.


Die Königs-Fahd-Quelle

Prompt: ErkundeErkläre die Design dieses Kunstwerks, Die Königs-Fahd-Quelle.Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.


Die Königs-Fahd-Quelle

Prompt: Wie erläutert Die Königs-Fahd-Quelle seine Design?Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.


Die Königs-Fahd-Quelle

Prompt: Wie wird die Design in Die Königs-Fahd-Quelle diskutiert?Bitte auf Englisch ausgeben.

Category:Buildings and structures in Jeddah

Category:1985 establishments in Saudi Arabia

The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.


Liebe und Verlust

Prompt: Fokussiere dich auf Liebe und Verlust und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.


Liebe und Verlust

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Liebe und Verlust.Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.


Liebe und Verlust

Prompt: Wie erläutert Liebe und Verlust seine abstract?Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.


Liebe und Verlust

Prompt: Wie wird die abstract in Liebe und Verlust diskutiert?Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)

Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.


Liebe und Verlust

Prompt: Fokussiere dich auf Liebe und Verlust und erkunde erkläre die Beschreibung.Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".


Liebe und Verlust

Prompt: ErkundeErkläre die Beschreibung dieses Kunstwerks, Liebe und Verlust.Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".


Liebe und Verlust

Prompt: Wie erläutert Liebe und Verlust seine Beschreibung?Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".


Liebe und Verlust

Prompt: Wie wird die Beschreibung in Liebe und Verlust diskutiert?Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)

The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, "The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand." The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a "sculpture slash word puzzle".


Liebe und Verlust

Prompt: Fokussiere dich auf Liebe und Verlust und erkunde erkläre die Empfang.Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)


Liebe und Verlust

Prompt: ErkundeErkläre die Empfang dieses Kunstwerks, Liebe und Verlust.Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)


Liebe und Verlust

Prompt: Wie erläutert Liebe und Verlust seine Empfang?Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)


Liebe und Verlust

Prompt: Wie wird die Empfang in Liebe und Verlust diskutiert?Bitte auf Englisch ausgeben.

Category:2005 establishments in Washington (state)


Schwarzes Quadrat

Prompt: Fokussiere dich auf Schwarzes Quadrat und erkunde erkläre die abstract.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.


Schwarzes Quadrat

Prompt: ErkundeErkläre die abstract dieses Kunstwerks, Schwarzes Quadrat.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.


Schwarzes Quadrat

Prompt: Wie erläutert Schwarzes Quadrat seine abstract?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.


Schwarzes Quadrat

Prompt: Wie wird die abstract in Schwarzes Quadrat diskutiert?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square (Russian Чёрный квадрат) is a 1915 oil on linen canvas painting by the artist Kazimir Malevich.  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement (1915–1919).A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as "desperate struggle to free art from the ballast of the objective world" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works. The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White (1918), Black Circle (c. 1924), and Black Cross (c. 1920–23). Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The Last Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the "zero point of painting"; since then, it has had a significant influence on minimalist art.


Schwarzes Quadrat

Prompt: Fokussiere dich auf Schwarzes Quadrat und erkunde erkläre die Konzeption.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."


Schwarzes Quadrat

Prompt: ErkundeErkläre die Konzeption dieses Kunstwerks, Schwarzes Quadrat.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."


Schwarzes Quadrat

Prompt: Wie erläutert Schwarzes Quadrat seine Konzeption?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."


Schwarzes Quadrat

Prompt: Wie wird die Konzeption in Schwarzes Quadrat diskutiert?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, where he came into contact with the leading Russian avant-garde artists such as Natalia Goncharova and Mikhail Larionov. He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's (1861–1934), staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. Its libretto was written by the poet Velimir Khlebnikov (1885–1922), and follows protagonists seeking to "abolish reason" by capturing the sun and destroying time. The opera ends with a world in darkness, which Khlebnikov intended to represent the a future after the destruction of Russian tradition. These ideas resonated with Malevich's year zero views on the purpose of contemporary Modernist art. Malevich's sketches for the costumes seem largely influenced by Cubism and Futurism. However, a number, including those known today as Futurist Strongman, Grave Digger and A Certain Evil Intender, are in colour but contain distinct black squares and rectangles. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square "will have great significance in painting" and is the "embryo of all possibilities; in its development it acquires a terrible strength."


Schwarzes Quadrat

Prompt: Fokussiere dich auf Schwarzes Quadrat und erkunde erkläre die Komposition.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.


Schwarzes Quadrat

Prompt: ErkundeErkläre die Komposition dieses Kunstwerks, Schwarzes Quadrat.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.


Schwarzes Quadrat

Prompt: Wie erläutert Schwarzes Quadrat seine Komposition?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.


Schwarzes Quadrat

Prompt: Wie wird die Komposition in Schwarzes Quadrat diskutiert?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint.Malevich was a prolific and talented self-publicist and has been described as both a "brilliant, grandiose, messianic figure" and a "fanatic pamphleteer". Sensing a breakthrough, he declared the painting as a milestone in both his oeuvre and "in the history of art". He later wrote that he was so excited at the breakthrough that he was unable to "sleep, eat, or drink for an entire week after". The painting was first shown at the 1915 The Last Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg (then Petrograd). Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas variants (in 1924, 1929, while the final version is thought to date from the late 1920s or early 1930s). He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription "1913", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.


Schwarzes Quadrat

Prompt: Fokussiere dich auf Schwarzes Quadrat und erkunde erkläre die Interpretation.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.


Schwarzes Quadrat

Prompt: ErkundeErkläre die Interpretation dieses Kunstwerks, Schwarzes Quadrat.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.


Schwarzes Quadrat

Prompt: Wie erläutert Schwarzes Quadrat seine Interpretation?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.


Schwarzes Quadrat

Prompt: Wie wird die Interpretation in Schwarzes Quadrat diskutiert?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title "Suprematism" is derived from the word supremus (Russian: Супремус), which translates as "superior" or "perfected", which Malevich said reflected his desire to "liberate" painting from mimesis (imitation) and representational art.Although the movement gained many supporters among the Russian avant-garde, it was overshadowed by constructivism, whose manifesto better reflected the ideology of the early Soviet government and which had a larger influence on later 20th century art. Today Suprematism is almost exclusively associated with Malevich and his apprentice El Lissitzky.


Schwarzes Quadrat

Prompt: Im Kontext von Schwarzes Quadrat, erkunde erkläre die Versionen und die Interpretation.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.


Schwarzes Quadrat

Prompt: Erkunde Erkläre die Versionen über die Interpretation dieses Kunstwerks, Schwarzes Quadrat.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.


Schwarzes Quadrat

Prompt: In Schwarzes Quadrat, wie wird die Versionen der Interpretation erläutert?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.


Schwarzes Quadrat

Prompt: Beschreibe die Merkmale der Versionen in  der Schwarzes Quadrat's Interpretation von Schwarzes Quadrat.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square (also at the Tretyakov Gallery) was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.


Schwarzes Quadrat

Prompt: Fokussiere dich auf Schwarzes Quadrat und erkunde erkläre die Einfluss.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.


Schwarzes Quadrat

Prompt: ErkundeErkläre die Einfluss dieses Kunstwerks, Schwarzes Quadrat.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.


Schwarzes Quadrat

Prompt: Wie erläutert Schwarzes Quadrat seine Einfluss?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.


Schwarzes Quadrat

Prompt: Wie wird die Einfluss in Schwarzes Quadrat diskutiert?Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called "degenerate art", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to "family, home and church", and was "ironically...a mirror image of the socialist realism of the hated Communists."Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.


Schwarzes Quadrat

Prompt: Fokussiere dich auf Schwarzes Quadrat und erkunde erkläre die Zustand.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."


Schwarzes Quadrat

Prompt: ErkundeErkläre die Zustand dieses Kunstwerks, Schwarzes Quadrat.Bitte auf Englisch ausgeben.

Political repression in the Soviet Union

Category:Collection of the Tretyakov Gallery

Suprematist works by Malevich at the [[0,10 Exhibition

Triptych at the Russian Museum, featuring the 1924 version

File:Malevich's black suprematist paintings (GRM) by shakko 01.jpg

Russian Soviet Federative Socialist Republic

The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, "the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months."