Sfären

Prompt: Beskriv egenskaperna hos Dokumentär i Sfärens Media.Var god och output på engelska.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

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


Sfären

Prompt: I samband med Sfären, förklara Bok och Media.Var god och output på engelska.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

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


Sfären

Prompt: Förklara Bok om Media i detta konstverk, Sfären.Var god och output på engelska.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

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


Sfären

Prompt: Hur förklaras Bok av Media i Sfären?Var god och output på engelska.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

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


Sfären

Prompt: Beskriv egenskaperna hos Bok i Sfärens Media.Var god och output på engelska.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance

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


Marats död

Prompt: Fokusera på Marats död och förklara abstract.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Förklara abstract i detta konstverk, Marats död.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Hur förklarar Marats död sitt abstract?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: I Marats död, hur diskuteras abstract?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Fokusera på Marats död och förklara Mordet på Marat.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Förklara Mordet på Marat i detta konstverk, Marats död.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Hur förklarar Marats död sitt Mordet på Marat?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: I Marats död, hur diskuteras Mordet på Marat?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Fokusera på Marats död och förklara Davids politik.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Förklara Davids politik i detta konstverk, Marats död.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Hur förklarar Marats död sitt Davids politik?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: I Marats död, hur diskuteras Davids politik?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Fokusera på Marats död och förklara Stil.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Förklara Stil i detta konstverk, Marats död.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Hur förklarar Marats död sitt Stil?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: I Marats död, hur diskuteras Stil?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Fokusera på Marats död och förklara Senare historia.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Förklara Senare historia i detta konstverk, Marats död.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Hur förklarar Marats död sitt Senare historia?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: I Marats död, hur diskuteras Senare historia?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Fokusera på Marats död och förklara I populärkulturen.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Förklara I populärkulturen i detta konstverk, Marats död.Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: Hur förklarar Marats död sitt I populärkulturen?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Marats död

Prompt: I Marats död, hur diskuteras I populärkulturen?Var god och output på engelska.

Category:Paintings in the Musée Oldmasters

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

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

Category:Paintings by Jacques-Louis David

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

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

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

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

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

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


Salon des Refusés

Prompt: Fokusera på Salon des Refusés och förklara abstract.Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

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


Salon des Refusés

Prompt: Förklara abstract i detta konstverk, Salon des Refusés.Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

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


Salon des Refusés

Prompt: Hur förklarar Salon des Refusés sitt abstract?Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

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


Salon des Refusés

Prompt: I Salon des Refusés, hur diskuteras abstract?Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

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


Salon des Refusés

Prompt: Fokusera på Salon des Refusés och förklara Bakgrund till salongen 1863.Var god och output på engelska.

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

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


Salon des Refusés

Prompt: Förklara Bakgrund till salongen 1863 i detta konstverk, Salon des Refusés.Var god och output på engelska.

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

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


Salon des Refusés

Prompt: Hur förklarar Salon des Refusés sitt Bakgrund till salongen 1863?Var god och output på engelska.

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

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


Salon des Refusés

Prompt: I Salon des Refusés, hur diskuteras Bakgrund till salongen 1863?Var god och output på engelska.

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

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


Salon des Refusés

Prompt: I samband med Salon des Refusés, förklara Lunchen på gräset och Verk i utställningen.Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

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


Salon des Refusés

Prompt: Förklara Lunchen på gräset om Verk i utställningen i detta konstverk, Salon des Refusés.Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

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


Salon des Refusés

Prompt: Hur förklaras Lunchen på gräset av Verk i utställningen i Salon des Refusés?Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

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


Salon des Refusés

Prompt: Beskriv egenskaperna hos Lunchen på gräset i Salon des Refuséss Verk i utställningen.Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

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


Salon des Refusés

Prompt: I samband med Salon des Refusés, förklara Symfoni i vitt nr 1 och Verk i utställningen.Var god och output på engelska.

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

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 Of the over 5,000 paintings submitted in 1863, 2,217 were rejected.  In a letter to George du Maurier in early 1862 Whistler wrote of the painting:... a woman in a beautiful white cambric dress, standing against a window which filters the light through a transparent white muslin curtain – but the figure receives a strong light from the right and therefore the picture, barring the red hair, is one gorgeous mass of brilliant white.Whistler submitted the painting to the Academy, but according to Joanna Hiffernan, he expected it to be rejected. The previous year, in 1861, another painting had caused a minor scandal. Edwin Henry Landseer's The Shrew Tamed showed a horse with a woman resting on the ground nearby. The model was named as Ann Gilbert, a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. The next year, Whistler tried to have the painting exhibited at the Salon in Paris – the official art exhibition of the Académie des Beaux-Arts – but it was rejected there as well. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The controversy surrounding the paintings was described in Émile Zola's novel L'Œuvre (1886). The reception Whistler's painting received was mostly favourable, however, and largely vindicated him after the rejection he had experienced both in London and in Paris. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.


Salon des Refusés

Prompt: Förklara Symfoni i vitt nr 1 om Verk i utställningen i detta konstverk, Salon des Refusés.Var god och output på engelska.

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

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 Of the over 5,000 paintings submitted in 1863, 2,217 were rejected.  In a letter to George du Maurier in early 1862 Whistler wrote of the painting:... a woman in a beautiful white cambric dress, standing against a window which filters the light through a transparent white muslin curtain – but the figure receives a strong light from the right and therefore the picture, barring the red hair, is one gorgeous mass of brilliant white.Whistler submitted the painting to the Academy, but according to Joanna Hiffernan, he expected it to be rejected. The previous year, in 1861, another painting had caused a minor scandal. Edwin Henry Landseer's The Shrew Tamed showed a horse with a woman resting on the ground nearby. The model was named as Ann Gilbert, a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. The next year, Whistler tried to have the painting exhibited at the Salon in Paris – the official art exhibition of the Académie des Beaux-Arts – but it was rejected there as well. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The controversy surrounding the paintings was described in Émile Zola's novel L'Œuvre (1886). The reception Whistler's painting received was mostly favourable, however, and largely vindicated him after the rejection he had experienced both in London and in Paris. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.


Salon des Refusés

Prompt: Hur förklaras Symfoni i vitt nr 1 av Verk i utställningen i Salon des Refusés?Var god och output på engelska.

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

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 Of the over 5,000 paintings submitted in 1863, 2,217 were rejected.  In a letter to George du Maurier in early 1862 Whistler wrote of the painting:... a woman in a beautiful white cambric dress, standing against a window which filters the light through a transparent white muslin curtain – but the figure receives a strong light from the right and therefore the picture, barring the red hair, is one gorgeous mass of brilliant white.Whistler submitted the painting to the Academy, but according to Joanna Hiffernan, he expected it to be rejected. The previous year, in 1861, another painting had caused a minor scandal. Edwin Henry Landseer's The Shrew Tamed showed a horse with a woman resting on the ground nearby. The model was named as Ann Gilbert, a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. The next year, Whistler tried to have the painting exhibited at the Salon in Paris – the official art exhibition of the Académie des Beaux-Arts – but it was rejected there as well. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The controversy surrounding the paintings was described in Émile Zola's novel L'Œuvre (1886). The reception Whistler's painting received was mostly favourable, however, and largely vindicated him after the rejection he had experienced both in London and in Paris. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.


Salon des Refusés

Prompt: Beskriv egenskaperna hos Symfoni i vitt nr 1 i Salon des Refuséss Verk i utställningen.Var god och output på engelska.

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

In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. This portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy. In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait was refused for exhibition at the conservative Royal Academy in London.  Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés.  The Salon des Refusés was an event sanctioned by Emperor Napoleon III, to appease the large number of artists who joined forces to protest the harsh jury decisions in 1863 Of the over 5,000 paintings submitted in 1863, 2,217 were rejected.  In a letter to George du Maurier in early 1862 Whistler wrote of the painting:... a woman in a beautiful white cambric dress, standing against a window which filters the light through a transparent white muslin curtain – but the figure receives a strong light from the right and therefore the picture, barring the red hair, is one gorgeous mass of brilliant white.Whistler submitted the painting to the Academy, but according to Joanna Hiffernan, he expected it to be rejected. The previous year, in 1861, another painting had caused a minor scandal. Edwin Henry Landseer's The Shrew Tamed showed a horse with a woman resting on the ground nearby. The model was named as Ann Gilbert, a noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters, the notorious London courtesan. Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at the small Berners Street Gallery in London instead. The next year, Whistler tried to have the painting exhibited at the Salon in Paris – the official art exhibition of the Académie des Beaux-Arts – but it was rejected there as well. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon.Although Whistler's painting was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. The controversy surrounding the paintings was described in Émile Zola's novel L'Œuvre (1886). The reception Whistler's painting received was mostly favourable, however, and largely vindicated him after the rejection he had experienced both in London and in Paris. The painting was greatly admired by his colleagues and friends Manet, the painter Gustave Courbet and the poet Charles Baudelaire. The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez. There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric.


Salon des Refusés

Prompt: Fokusera på Salon des Refusés och förklara Arv.Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system (much like a multi-party system) subject to the review of the general jury of the public."


Salon des Refusés

Prompt: Förklara Arv i detta konstverk, Salon des Refusés.Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system (much like a multi-party system) subject to the review of the general jury of the public."


Salon des Refusés

Prompt: Hur förklarar Salon des Refusés sitt Arv?Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system (much like a multi-party system) subject to the review of the general jury of the public."


Salon des Refusés

Prompt: I Salon des Refusés, hur diskuteras Arv?Var god och output på engelska.

Symphony in White, No. 1: The White Girl

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

Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system (much like a multi-party system) subject to the review of the general jury of the public."