{"id": 0, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "alt = Venus de Milo on display at the Louvre title = Venus de Milo dimensions =  year = 2nd century BC coordinates =  condition = Arms broken off; otherwise intact medium = Parian marble subject = Aphrodite  city = Paris museum = Louvre italic title = no italic other_title_1 = no}}The Venus de Milo or Aphrodite of Melos ; }} is an ancient Greek marble sculpture that was created during the Hellenistic period.  Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over  high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.", "entry": "section", "prompt": "Concentrez-vous sur Vénus de Milo et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Antioch on the Maeander", "Aphrodite", "Hellenistic period", "Louvre", "Milos", "Napoleonic Wars", "Parian marble"]}
{"id": 1, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "alt = Venus de Milo on display at the Louvre title = Venus de Milo dimensions =  year = 2nd century BC coordinates =  condition = Arms broken off; otherwise intact medium = Parian marble subject = Aphrodite  city = Paris museum = Louvre italic title = no italic other_title_1 = no}}The Venus de Milo or Aphrodite of Melos ; }} is an ancient Greek marble sculpture that was created during the Hellenistic period.  Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over  high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Vénus de Milo.Veuillez sortir en anglais.", "section_entities": ["Antioch on the Maeander", "Aphrodite", "Hellenistic period", "Louvre", "Milos", "Napoleonic Wars", "Parian marble"]}
{"id": 2, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "alt = Venus de Milo on display at the Louvre title = Venus de Milo dimensions =  year = 2nd century BC coordinates =  condition = Arms broken off; otherwise intact medium = Parian marble subject = Aphrodite  city = Paris museum = Louvre italic title = no italic other_title_1 = no}}The Venus de Milo or Aphrodite of Melos ; }} is an ancient Greek marble sculpture that was created during the Hellenistic period.  Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over  high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.", "entry": "section", "prompt": "Comment Vénus de Milo explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Antioch on the Maeander", "Aphrodite", "Hellenistic period", "Louvre", "Milos", "Napoleonic Wars", "Parian marble"]}
{"id": 3, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "alt = Venus de Milo on display at the Louvre title = Venus de Milo dimensions =  year = 2nd century BC coordinates =  condition = Arms broken off; otherwise intact medium = Parian marble subject = Aphrodite  city = Paris museum = Louvre italic title = no italic other_title_1 = no}}The Venus de Milo or Aphrodite of Melos ; }} is an ancient Greek marble sculpture that was created during the Hellenistic period.  Its exact dating is uncertain, but the modern consensus places it in the 2nd century BC, perhaps between 160 and 110 BC.  It was rediscovered in 1820 on the island of Milos, Greece, and has been displayed at the Louvre Museum since 1821. Since the statue's discovery, it has become one of the most famous works of ancient Greek sculpture in the world.The Venus de Milo is believed to depict Aphrodite, the Greek goddess of love, whose Roman counterpart was Venus.  Made of Parian marble, the statue is larger than life size, standing over  high. The statue is missing both arms. The original position of these missing arms is uncertain. The sculpture was originally identified as depicting Aphrodite holding the apple of discord as a marble hand holding an apple was found alongside it; recent scientific analysis supports the identification of this hand as part of the sculpture. On the basis of a now-lost inscription found near the sculpture, it has been attributed to Alexandros from Antioch on the Maeander, though the name on the inscription is uncertain and its connection to the Venus is disputed.The Venus de Milo rapidly became a cornerstone of the Louvre's antiquities collection in the aftermath of the Napoleonic Wars, and its fame spread through distribution in photographs and three-dimensional copies. The statue inspired over 70 poems, influenced 19th-century art and the Surrealist movement in the early 20th century, and has been featured in various modern artistic projects, including film and advertising. In contrast to the popular appreciation of the sculpture, scholars have been more critical. Though upon its discovery the Venus was considered a classical masterpiece, since it was re-dated to the Hellenistic period classicists have neglected the Venus in favour of studying sculptures mentioned in ancient written sources, even though they only survive as later copies which are technically inferior to the Venus.", "entry": "section", "prompt": "Dans Vénus de Milo, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Antioch on the Maeander", "Aphrodite", "Hellenistic period", "Louvre", "Milos", "Napoleonic Wars", "Parian marble"]}
{"id": 4, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo is an over  tall.  Brill's New Pauly says . The Louvre's online catalogue states .  Christofilis Maggidis says . Alain Pasquier says  excluding the plinth, or  including it.}} Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.}}Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as \"the last great work of antique Greece\", and \"of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work\", while also using \"the inventions of his own time\"; \"the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect\".", "entry": "section", "prompt": "Concentrez-vous sur Vénus de Milo et expliquez la Description.Veuillez sortir en anglais.", "section_entities": ["Aphrodite", "Hellenistic art", "Kenneth Clark", "Louvre", "Parian marble"]}
{"id": 5, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo is an over  tall.  Brill's New Pauly says . The Louvre's online catalogue states .  Christofilis Maggidis says . Alain Pasquier says  excluding the plinth, or  including it.}} Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.}}Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as \"the last great work of antique Greece\", and \"of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work\", while also using \"the inventions of his own time\"; \"the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect\".", "entry": "section", "prompt": "Expliquer la Description de cette œuvre d'art, Vénus de Milo.Veuillez sortir en anglais.", "section_entities": ["Aphrodite", "Hellenistic art", "Kenneth Clark", "Louvre", "Parian marble"]}
{"id": 6, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo is an over  tall.  Brill's New Pauly says . The Louvre's online catalogue states .  Christofilis Maggidis says . Alain Pasquier says  excluding the plinth, or  including it.}} Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.}}Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as \"the last great work of antique Greece\", and \"of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work\", while also using \"the inventions of his own time\"; \"the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect\".", "entry": "section", "prompt": "Comment Vénus de Milo explique-t-il sa Description?Veuillez sortir en anglais.", "section_entities": ["Aphrodite", "Hellenistic art", "Kenneth Clark", "Louvre", "Parian marble"]}
{"id": 7, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo is an over  tall.  Brill's New Pauly says . The Louvre's online catalogue states .  Christofilis Maggidis says . Alain Pasquier says  excluding the plinth, or  including it.}} Parian marble statue of a Greek goddess, most likely Aphrodite, depicted with a bare torso and drapery over the lower half of her body.  The figure stands with her weight on her right leg, and the left leg raised; her head is turned to the left. The statue is missing both arms, the left foot, and the earlobes. There is a filled hole below her right breast that originally contained a metal tenon that would have supported the right arm.  The Venus' flesh is polished smooth, but chisel marks are still visible on other surfaces.  The drapery is more elaborately carved on the right-hand side of the statue than the left, perhaps because on the left-hand side it was originally obscured from view.  Likewise the Venus is less finely-finished from behind, suggesting that it was originally intended to be viewed only from the front. While the body of the Venus is depicted in a realistic style, the head is more idealised. The lips are slightly open, the eyes and mouth are small. The sculpture has been minimally restored: only the tip of the nose, lower lip, big toe on the right foot, and some of the drapery.}}Stylistically, the sculpture combines elements of classical and Hellenistic art. Features such as the small, regular eyes and mouth, and the strong brow and nose, are classical in style, while the shape of the torso and the deeply carved drapery are Hellenistic.Kenneth Clark describes the figure as \"the last great work of antique Greece\", and \"of all the works of antiquity one of the most complex and the most artful. ...[the sculptor] has consciously attempted to give the effect of a 5th-century work\", while also using \"the inventions of his own time\"; \"the planes of her body are so large and calm that at first we do not realise the number of angles through which they pass. In architectural terms, she is a baroque composition with classic effect\".", "entry": "section", "prompt": "Dans Vénus de Milo, comment est discutée la Description?Veuillez sortir en anglais.", "section_entities": ["Aphrodite", "Hellenistic art", "Kenneth Clark", "Louvre", "Parian marble"]}
{"id": 8, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios,}} the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having \"no factual basis\".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. or Louis bought it; according to Gregory Curtis, de Rivière \"offered\" the Venus to the king for the Louvre and the comte de Forbin, the curator of the Louvre, reimbursed de Rivière for the cost of the sculpture.}} Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.", "entry": "section", "prompt": "Concentrez-vous sur Vénus de Milo et expliquez la Découverte.Veuillez sortir en anglais.", "section_entities": ["Charles François de Riffardeau, marquis de Rivière", "Constantinople", "Louis XVIII", "Louvre", "Milos", "Olivier Voutier", "Ottoman Empire", "Quatremère de Quincy", "Salomon Reinach"]}
{"id": 9, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios,}} the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having \"no factual basis\".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. or Louis bought it; according to Gregory Curtis, de Rivière \"offered\" the Venus to the king for the Louvre and the comte de Forbin, the curator of the Louvre, reimbursed de Rivière for the cost of the sculpture.}} Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.", "entry": "section", "prompt": "Expliquer la Découverte de cette œuvre d'art, Vénus de Milo.Veuillez sortir en anglais.", "section_entities": ["Charles François de Riffardeau, marquis de Rivière", "Constantinople", "Louis XVIII", "Louvre", "Milos", "Olivier Voutier", "Ottoman Empire", "Quatremère de Quincy", "Salomon Reinach"]}
{"id": 10, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios,}} the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having \"no factual basis\".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. or Louis bought it; according to Gregory Curtis, de Rivière \"offered\" the Venus to the king for the Louvre and the comte de Forbin, the curator of the Louvre, reimbursed de Rivière for the cost of the sculpture.}} Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.", "entry": "section", "prompt": "Comment Vénus de Milo explique-t-il sa Découverte?Veuillez sortir en anglais.", "section_entities": ["Charles François de Riffardeau, marquis de Rivière", "Constantinople", "Louis XVIII", "Louvre", "Milos", "Olivier Voutier", "Ottoman Empire", "Quatremère de Quincy", "Salomon Reinach"]}
{"id": 11, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios,}} the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having \"no factual basis\".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. or Louis bought it; according to Gregory Curtis, de Rivière \"offered\" the Venus to the king for the Louvre and the comte de Forbin, the curator of the Louvre, reimbursed de Rivière for the cost of the sculpture.}} Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.", "entry": "section", "prompt": "Dans Vénus de Milo, comment est discutée la Découverte?Veuillez sortir en anglais.", "section_entities": ["Charles François de Riffardeau, marquis de Rivière", "Constantinople", "Louis XVIII", "Louvre", "Milos", "Olivier Voutier", "Ottoman Empire", "Quatremère de Quincy", "Salomon Reinach"]}
{"id": 12, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the  where it remained until 1848.  From there it was moved to the , where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the  was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the  to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.", "entry": "section", "prompt": "Concentrez-vous sur Vénus de Milo et expliquez la Afficher.Veuillez sortir en anglais.", "section_entities": ["Château de Valençay", "Dying Slave", "Louvre", "Michelangelo", "Mona Lisa", "Paris Commune", "Rebellious Slave"]}
{"id": 13, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the  where it remained until 1848.  From there it was moved to the , where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the  was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the  to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.", "entry": "section", "prompt": "Expliquer la Afficher de cette œuvre d'art, Vénus de Milo.Veuillez sortir en anglais.", "section_entities": ["Château de Valençay", "Dying Slave", "Louvre", "Michelangelo", "Mona Lisa", "Paris Commune", "Rebellious Slave"]}
{"id": 14, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the  where it remained until 1848.  From there it was moved to the , where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the  was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the  to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.", "entry": "section", "prompt": "Comment Vénus de Milo explique-t-il sa Afficher?Veuillez sortir en anglais.", "section_entities": ["Château de Valençay", "Dying Slave", "Louvre", "Michelangelo", "Mona Lisa", "Paris Commune", "Rebellious Slave"]}
{"id": 15, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the  where it remained until 1848.  From there it was moved to the , where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the  was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the  to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.", "entry": "section", "prompt": "Dans Vénus de Milo, comment est discutée la Afficher?Veuillez sortir en anglais.", "section_entities": ["Château de Valençay", "Dying Slave", "Louvre", "Michelangelo", "Mona Lisa", "Paris Commune", "Rebellious Slave"]}
{"id": 16, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark , \"within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty\".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his \"instruction manuals\"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.", "entry": "section", "prompt": "Concentrez-vous sur Vénus de Milo et expliquez la Réception.Veuillez sortir en anglais.", "section_entities": ["Aphrodite", "Aphrodite of Knidos", "Arman", "Blonde Venus", "Clara Bow", "Clarence Sinclair Bull", "Clive Barker", "Erwin Blumenfeld", "Eva Green", "Hellenistic period", "Honoré Daumier", "International Klein Blue", "Jean Harlow", "Jim Dine", "Joan Crawford", "Kellogg's", "Kenneth Clark", "Liberty Leading the People", "Louvre", "Marlene Dietrich", "Martin Robertson", "Max Ernst", "Max Klinger", "Mercedes-Benz", "Napoleonic Wars", "Photoplay", "René Magritte", "The Crystal Palace", "The Hallucinogenic Toreador"]}
{"id": 17, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark , \"within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty\".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his \"instruction manuals\"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.", "entry": "section", "prompt": "Expliquer la Réception de cette œuvre d'art, Vénus de Milo.Veuillez sortir en anglais.", "section_entities": ["Aphrodite", "Aphrodite of Knidos", "Arman", "Blonde Venus", "Clara Bow", "Clarence Sinclair Bull", "Clive Barker", "Erwin Blumenfeld", "Eva Green", "Hellenistic period", "Honoré Daumier", "International Klein Blue", "Jean Harlow", "Jim Dine", "Joan Crawford", "Kellogg's", "Kenneth Clark", "Liberty Leading the People", "Louvre", "Marlene Dietrich", "Martin Robertson", "Max Ernst", "Max Klinger", "Mercedes-Benz", "Napoleonic Wars", "Photoplay", "René Magritte", "The Crystal Palace", "The Hallucinogenic Toreador"]}
{"id": 18, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark , \"within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty\".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his \"instruction manuals\"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.", "entry": "section", "prompt": "Comment Vénus de Milo explique-t-il sa Réception?Veuillez sortir en anglais.", "section_entities": ["Aphrodite", "Aphrodite of Knidos", "Arman", "Blonde Venus", "Clara Bow", "Clarence Sinclair Bull", "Clive Barker", "Erwin Blumenfeld", "Eva Green", "Hellenistic period", "Honoré Daumier", "International Klein Blue", "Jean Harlow", "Jim Dine", "Joan Crawford", "Kellogg's", "Kenneth Clark", "Liberty Leading the People", "Louvre", "Marlene Dietrich", "Martin Robertson", "Max Ernst", "Max Klinger", "Mercedes-Benz", "Napoleonic Wars", "Photoplay", "René Magritte", "The Crystal Palace", "The Hallucinogenic Toreador"]}
{"id": 19, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark , \"within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty\".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his \"instruction manuals\"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.", "entry": "section", "prompt": "Dans Vénus de Milo, comment est discutée la Réception?Veuillez sortir en anglais.", "section_entities": ["Aphrodite", "Aphrodite of Knidos", "Arman", "Blonde Venus", "Clara Bow", "Clarence Sinclair Bull", "Clive Barker", "Erwin Blumenfeld", "Eva Green", "Hellenistic period", "Honoré Daumier", "International Klein Blue", "Jean Harlow", "Jim Dine", "Joan Crawford", "Kellogg's", "Kenneth Clark", "Liberty Leading the People", "Louvre", "Marlene Dietrich", "Martin Robertson", "Max Ernst", "Max Klinger", "Mercedes-Benz", "Napoleonic Wars", "Photoplay", "René Magritte", "The Crystal Palace", "The Hallucinogenic Toreador"]}
{"id": 20, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to , between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to , and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. In 1901, Friedrich Hiller von Gaertringen argued for the restoration of the name as Alexandros, and associated the sculptor with a poet Alexandros, also from the Maeander region, who is named on an inscription from the Valley of the Muses at Thespiae.}} The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to .  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests . The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.", "entry": "subsection", "prompt": "Dans le contexte de Vénus de Milo, expliquez la Identification et la Afficher.Veuillez sortir en anglais.", "section_entities": ["Adolf Furtwängler", "Alexandros of Antioch", "Amphitrite", "Antioch on the Maeander", "Aphrodite", "Jean-Luc Martinez", "Louvre", "Muses", "Nemesis", "Phidias", "Poseidon", "Poseidon of Melos", "Praxiteles", "Quatremère de Quincy", "Sappho"]}
{"id": 21, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to , between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to , and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. In 1901, Friedrich Hiller von Gaertringen argued for the restoration of the name as Alexandros, and associated the sculptor with a poet Alexandros, also from the Maeander region, who is named on an inscription from the Valley of the Muses at Thespiae.}} The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to .  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests . The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.", "entry": "subsection", "prompt": "Expliquer la Identification concernant la Afficher de cette œuvre d'art, Vénus de Milo.Veuillez sortir en anglais.", "section_entities": ["Adolf Furtwängler", "Alexandros of Antioch", "Amphitrite", "Antioch on the Maeander", "Aphrodite", "Jean-Luc Martinez", "Louvre", "Muses", "Nemesis", "Phidias", "Poseidon", "Poseidon of Melos", "Praxiteles", "Quatremère de Quincy", "Sappho"]}
{"id": 22, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to , between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to , and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. In 1901, Friedrich Hiller von Gaertringen argued for the restoration of the name as Alexandros, and associated the sculptor with a poet Alexandros, also from the Maeander region, who is named on an inscription from the Valley of the Muses at Thespiae.}} The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to .  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests . The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.", "entry": "subsection", "prompt": "Dans Vénus de Milo, comment la Identification de la Afficher est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Adolf Furtwängler", "Alexandros of Antioch", "Amphitrite", "Antioch on the Maeander", "Aphrodite", "Jean-Luc Martinez", "Louvre", "Muses", "Nemesis", "Phidias", "Poseidon", "Poseidon of Melos", "Praxiteles", "Quatremère de Quincy", "Sappho"]}
{"id": 23, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to , between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to , and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. In 1901, Friedrich Hiller von Gaertringen argued for the restoration of the name as Alexandros, and associated the sculptor with a poet Alexandros, also from the Maeander region, who is named on an inscription from the Valley of the Muses at Thespiae.}} The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to .  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests . The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Identification dans la Afficher de Vénus de Milo.Veuillez sortir en anglais.", "section_entities": ["Adolf Furtwängler", "Alexandros of Antioch", "Amphitrite", "Antioch on the Maeander", "Aphrodite", "Jean-Luc Martinez", "Louvre", "Muses", "Nemesis", "Phidias", "Poseidon", "Poseidon of Melos", "Praxiteles", "Quatremère de Quincy", "Sappho"]}
{"id": 24, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo<nowiki/>'s right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the \"most plausible\" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture \"a fresh invention\" of the Hellenistic period.", "entry": "subsection", "prompt": "Dans le contexte de Vénus de Milo, expliquez la Reconstructions et la Afficher.Veuillez sortir en anglais.", "section_entities": ["Acrocorinth", "Aphrodite", "Capuan Venus", "Hellenistic period"]}
{"id": 25, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo<nowiki/>'s right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the \"most plausible\" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture \"a fresh invention\" of the Hellenistic period.", "entry": "subsection", "prompt": "Expliquer la Reconstructions concernant la Afficher de cette œuvre d'art, Vénus de Milo.Veuillez sortir en anglais.", "section_entities": ["Acrocorinth", "Aphrodite", "Capuan Venus", "Hellenistic period"]}
{"id": 26, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo<nowiki/>'s right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the \"most plausible\" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture \"a fresh invention\" of the Hellenistic period.", "entry": "subsection", "prompt": "Dans Vénus de Milo, comment la Reconstructions de la Afficher est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Acrocorinth", "Aphrodite", "Capuan Venus", "Hellenistic period"]}
{"id": 27, "title": "Vénus de Milo", "en_title": "Venus de Milo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg/170px-V%C3%A9nus_de_Milo_-_Mus%C3%A9e_du_Louvre_AGER_LL_299_%3B_N_527_%3B_Ma_399.jpg", "reference": "Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo<nowiki/>'s right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the \"most plausible\" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture \"a fresh invention\" of the Hellenistic period.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Reconstructions dans la Afficher de Vénus de Milo.Veuillez sortir en anglais.", "section_entities": ["Acrocorinth", "Aphrodite", "Capuan Venus", "Hellenistic period"]}
{"id": 28, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "</ref> other_language_1 = Italian other_title_1 =  other_language_2 =  other_title_2 =  artist = Leonardo da Vinci subject = Lisa del Giocondo year = , perhaps continuing until  material = Oil on poplar panel height_metric = 77 width_metric = 53 city = Paris museum = Louvre condition = }}The Mona Lisa  is a half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as \"the best known, the most visited, the most written about, the most sung about, [and] the most parodied work of art in the world\". The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.The painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. King Francis I of France acquired the Mona Lisa after Leonardo's death in 1519, and it is now the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.The painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films  and the song \"Mona Lisa\" recorded by Nat King Cole—one of the most successful songs of the 1950s.The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100&nbsp;million in 1962, equivalent to $1 billion .", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Francis I of France", "Italian Renaissance", "Italy", "Francis I of France", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre", "Nat King Cole"]}
{"id": 29, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "</ref> other_language_1 = Italian other_title_1 =  other_language_2 =  other_title_2 =  artist = Leonardo da Vinci subject = Lisa del Giocondo year = , perhaps continuing until  material = Oil on poplar panel height_metric = 77 width_metric = 53 city = Paris museum = Louvre condition = }}The Mona Lisa  is a half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as \"the best known, the most visited, the most written about, the most sung about, [and] the most parodied work of art in the world\". The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.The painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. King Francis I of France acquired the Mona Lisa after Leonardo's death in 1519, and it is now the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.The painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films  and the song \"Mona Lisa\" recorded by Nat King Cole—one of the most successful songs of the 1950s.The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100&nbsp;million in 1962, equivalent to $1 billion .", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Francis I of France", "Italian Renaissance", "Italy", "Francis I of France", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre", "Nat King Cole"]}
{"id": 30, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "</ref> other_language_1 = Italian other_title_1 =  other_language_2 =  other_title_2 =  artist = Leonardo da Vinci subject = Lisa del Giocondo year = , perhaps continuing until  material = Oil on poplar panel height_metric = 77 width_metric = 53 city = Paris museum = Louvre condition = }}The Mona Lisa  is a half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as \"the best known, the most visited, the most written about, the most sung about, [and] the most parodied work of art in the world\". The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.The painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. King Francis I of France acquired the Mona Lisa after Leonardo's death in 1519, and it is now the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.The painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films  and the song \"Mona Lisa\" recorded by Nat King Cole—one of the most successful songs of the 1950s.The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100&nbsp;million in 1962, equivalent to $1 billion .", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Francis I of France", "Italian Renaissance", "Italy", "Francis I of France", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre", "Nat King Cole"]}
{"id": 31, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "</ref> other_language_1 = Italian other_title_1 =  other_language_2 =  other_title_2 =  artist = Leonardo da Vinci subject = Lisa del Giocondo year = , perhaps continuing until  material = Oil on poplar panel height_metric = 77 width_metric = 53 city = Paris museum = Louvre condition = }}The Mona Lisa  is a half-length portrait painting by Italian artist Leonardo da Vinci. Considered an archetypal masterpiece of the Italian Renaissance, it has been described as \"the best known, the most visited, the most written about, the most sung about, [and] the most parodied work of art in the world\". The painting's novel qualities include the subject's enigmatic expression, monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism.The painting has been traditionally considered to depict the Italian noblewoman Lisa del Giocondo. It is painted in oil on a white poplar panel. Leonardo never gave the painting to the Giocondo family. It was believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. King Francis I of France acquired the Mona Lisa after Leonardo's death in 1519, and it is now the property of the French Republic. It has normally been on display at the Louvre in Paris since 1797.The painting's global fame and popularity partly stem from its 1911 theft by Vincenzo Peruggia, who attributed his actions to Italian patriotism—a belief it should belong to Italy. The theft and subsequent recovery in 1914 generated unprecedented publicity for an art theft, and led to the publication of many cultural depictions such as the 1915 opera Mona Lisa, two early 1930s films  and the song \"Mona Lisa\" recorded by Nat King Cole—one of the most successful songs of the 1950s.The Mona Lisa is one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known painting insurance valuation in history at US$100&nbsp;million in 1962, equivalent to $1 billion .", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Francis I of France", "Italian Renaissance", "Italy", "Francis I of France", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre", "Nat King Cole"]}
{"id": 32, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain. Renaissance art historian Giorgio Vasari wrote that \"Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife.\"  in Italian is a polite form of address originating as —similar to Ma'am, Madam, or my lady in English. This became , and its contraction . The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa , but this is rare in English.Lisa del Giocondo was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, , means 'jocund'  or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo.In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated \"Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre.\"The catalogue raisonné Leonardo da Vinci  confirms that the painting probably depicts Lisa del Giocondo, with Isabella d'Este being the only plausible alternative. Scholars have developed several alternative views, arguing that Lisa del Giocondo was the subject of a different portrait, and identifying at least four other paintings referred to by Vasari as the Mona Lisa. Several other people have been proposed as the subject of the painting, including Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Psychoanalyst Sigmund Freud theorized that Leonardo imparted an approving smile from his mother, Caterina, onto the Mona Lisa and other works.", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Titre et sujet.Veuillez sortir en anglais.", "section_entities": ["Cecilia Gallerani", "Costanza d'Avalos, Duchess of Francavilla", "Florence", "Gherardini family", "Giorgio Vasari", "Isabella d'Este", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 33, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain. Renaissance art historian Giorgio Vasari wrote that \"Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife.\"  in Italian is a polite form of address originating as —similar to Ma'am, Madam, or my lady in English. This became , and its contraction . The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa , but this is rare in English.Lisa del Giocondo was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, , means 'jocund'  or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo.In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated \"Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre.\"The catalogue raisonné Leonardo da Vinci  confirms that the painting probably depicts Lisa del Giocondo, with Isabella d'Este being the only plausible alternative. Scholars have developed several alternative views, arguing that Lisa del Giocondo was the subject of a different portrait, and identifying at least four other paintings referred to by Vasari as the Mona Lisa. Several other people have been proposed as the subject of the painting, including Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Psychoanalyst Sigmund Freud theorized that Leonardo imparted an approving smile from his mother, Caterina, onto the Mona Lisa and other works.", "entry": "section", "prompt": "Expliquer la Titre et sujet de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Cecilia Gallerani", "Costanza d'Avalos, Duchess of Francavilla", "Florence", "Gherardini family", "Giorgio Vasari", "Isabella d'Este", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 34, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain. Renaissance art historian Giorgio Vasari wrote that \"Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife.\"  in Italian is a polite form of address originating as —similar to Ma'am, Madam, or my lady in English. This became , and its contraction . The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa , but this is rare in English.Lisa del Giocondo was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, , means 'jocund'  or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo.In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated \"Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre.\"The catalogue raisonné Leonardo da Vinci  confirms that the painting probably depicts Lisa del Giocondo, with Isabella d'Este being the only plausible alternative. Scholars have developed several alternative views, arguing that Lisa del Giocondo was the subject of a different portrait, and identifying at least four other paintings referred to by Vasari as the Mona Lisa. Several other people have been proposed as the subject of the painting, including Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Psychoanalyst Sigmund Freud theorized that Leonardo imparted an approving smile from his mother, Caterina, onto the Mona Lisa and other works.", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Titre et sujet?Veuillez sortir en anglais.", "section_entities": ["Cecilia Gallerani", "Costanza d'Avalos, Duchess of Francavilla", "Florence", "Gherardini family", "Giorgio Vasari", "Isabella d'Este", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 35, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The title of the painting, which is known in English as Mona Lisa, is based on the presumption that it depicts Lisa del Giocondo, although her likeness is uncertain. Renaissance art historian Giorgio Vasari wrote that \"Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife.\"  in Italian is a polite form of address originating as —similar to Ma'am, Madam, or my lady in English. This became , and its contraction . The title of the painting, though traditionally spelled Mona in English, is spelled in Italian as Monna Lisa , but this is rare in English.Lisa del Giocondo was a member of the Gherardini family of Florence and Tuscany, and the wife of wealthy Florentine silk merchant Francesco del Giocondo. The painting is thought to have been commissioned for their new home, and to celebrate the birth of their second son, Andrea. The Italian name for the painting, , means 'jocund'  or, literally, 'the jocund one', a pun on the feminine form of Lisa's married name, Giocondo.In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated \"Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. About this we are now certain. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre.\"The catalogue raisonné Leonardo da Vinci  confirms that the painting probably depicts Lisa del Giocondo, with Isabella d'Este being the only plausible alternative. Scholars have developed several alternative views, arguing that Lisa del Giocondo was the subject of a different portrait, and identifying at least four other paintings referred to by Vasari as the Mona Lisa. Several other people have been proposed as the subject of the painting, including Isabella of Aragon, Cecilia Gallerani, Costanza d'Avalos, Duchess of Francavilla, Psychoanalyst Sigmund Freud theorized that Leonardo imparted an approving smile from his mother, Caterina, onto the Mona Lisa and other works.", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Titre et sujet?Veuillez sortir en anglais.", "section_entities": ["Cecilia Gallerani", "Costanza d'Avalos, Duchess of Francavilla", "Florence", "Gherardini family", "Giorgio Vasari", "Isabella d'Este", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 36, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa bears a strong resemblance to many Renaissance depictions of the Virgin Mary, who was at that time seen as an ideal for womanhood.The depiction of the sitter in three-quarter profile is similar to late 15th-century works by Lorenzo di Credi and Agnolo di Domenico del Mazziere. Zöllner notes that the sitter's general position can be traced back to Flemish models and that \"in particular the vertical slices of columns at both sides of the panel had precedents in Flemish portraiture.\" Woods-Marsden cites Hans Memling's portrait of Benedetto Portinari  or Italian imitations such as Sebastiano Mainardi's pendant portraits for the use of a loggia, which has the effect of mediating between the sitter and the distant landscape, a feature missing from Leonardo's earlier portrait of Ginevra de' Benci.The painting was one of the first Italian portraits to depict the sitter in front of an imaginary landscape, although some scholars favor a realistic description, and Leonardo was one of the first painters to use aerial perspective. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her, a vast landscape recedes to icy mountains, winding paths and a distant bridge, giving only the slightest indications of human presence. Leonardo has chosen to place the horizon line not at the neck, as he did with Ginevra de' Benci, but on a level with the eyes, thus linking the figure with the landscape and emphasizing the mysterious nature of the painting. Other bridges with similar arches suggested as possible locations had more arches.</ref>}} In 2007, French engineer Pascal Cotte announced that his ultra-high resolution scans of the painting provide evidence that Mona Lisa was originally painted with eyelashes and eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning. Cotte discovered that the painting had been reworked several times, with changes made to the size of the face and the direction of gaze. He also found that in one layer the subject was depicted wearing numerous hairpins and a headdress adorned with pearls which was later scrubbed out and overpainted.There has been much speculation regarding the painting's model and landscape. For example, Leonardo probably painted his model faithfully since her beauty is not seen as being among the best, \"even when measured by late quattrocento  or even twenty-first century standards.\" Some historians in Eastern art, such as Yukio Yashiro, argue that the landscape in the background of the picture was influenced by Chinese paintings,Research in 2003 by Professor Margaret Livingstone of Harvard University said that Mona Lisa's smile disappears when observed with direct vision, known as foveal. Because of the way the human eye processes visual information, it is less suited to pick up shadows directly; however, peripheral vision can pick up shadows well.Research in 2008 by a geomorphology professor at Urbino University and an artist-photographer revealed that Mona Lisas landscape was similar to some views in the Montefeltro region in the Italian provinces of Pesaro and Urbino, and Rimini. Research in 2023/2024 by geologist and art historian Ann Pizzorusso suggests that the landscape contains \"several recognisable features of Lecco, on the shores of ke Como in the Lombardy region of northern Italy.\".", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Description.Veuillez sortir en anglais.", "section_entities": ["Agnolo di Domenico del Mazziere", "Chinese painting", "Ginevra de' Benci", "Hans Memling", "Harvard University", "Italy", "Lecco", "Lombardy", "Lorenzo di Credi", "Margaret Livingstone", "Montefeltro"]}
{"id": 37, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa bears a strong resemblance to many Renaissance depictions of the Virgin Mary, who was at that time seen as an ideal for womanhood.The depiction of the sitter in three-quarter profile is similar to late 15th-century works by Lorenzo di Credi and Agnolo di Domenico del Mazziere. Zöllner notes that the sitter's general position can be traced back to Flemish models and that \"in particular the vertical slices of columns at both sides of the panel had precedents in Flemish portraiture.\" Woods-Marsden cites Hans Memling's portrait of Benedetto Portinari  or Italian imitations such as Sebastiano Mainardi's pendant portraits for the use of a loggia, which has the effect of mediating between the sitter and the distant landscape, a feature missing from Leonardo's earlier portrait of Ginevra de' Benci.The painting was one of the first Italian portraits to depict the sitter in front of an imaginary landscape, although some scholars favor a realistic description, and Leonardo was one of the first painters to use aerial perspective. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her, a vast landscape recedes to icy mountains, winding paths and a distant bridge, giving only the slightest indications of human presence. Leonardo has chosen to place the horizon line not at the neck, as he did with Ginevra de' Benci, but on a level with the eyes, thus linking the figure with the landscape and emphasizing the mysterious nature of the painting. Other bridges with similar arches suggested as possible locations had more arches.</ref>}} In 2007, French engineer Pascal Cotte announced that his ultra-high resolution scans of the painting provide evidence that Mona Lisa was originally painted with eyelashes and eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning. Cotte discovered that the painting had been reworked several times, with changes made to the size of the face and the direction of gaze. He also found that in one layer the subject was depicted wearing numerous hairpins and a headdress adorned with pearls which was later scrubbed out and overpainted.There has been much speculation regarding the painting's model and landscape. For example, Leonardo probably painted his model faithfully since her beauty is not seen as being among the best, \"even when measured by late quattrocento  or even twenty-first century standards.\" Some historians in Eastern art, such as Yukio Yashiro, argue that the landscape in the background of the picture was influenced by Chinese paintings,Research in 2003 by Professor Margaret Livingstone of Harvard University said that Mona Lisa's smile disappears when observed with direct vision, known as foveal. Because of the way the human eye processes visual information, it is less suited to pick up shadows directly; however, peripheral vision can pick up shadows well.Research in 2008 by a geomorphology professor at Urbino University and an artist-photographer revealed that Mona Lisas landscape was similar to some views in the Montefeltro region in the Italian provinces of Pesaro and Urbino, and Rimini. Research in 2023/2024 by geologist and art historian Ann Pizzorusso suggests that the landscape contains \"several recognisable features of Lecco, on the shores of ke Como in the Lombardy region of northern Italy.\".", "entry": "section", "prompt": "Expliquer la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Agnolo di Domenico del Mazziere", "Chinese painting", "Ginevra de' Benci", "Hans Memling", "Harvard University", "Italy", "Lecco", "Lombardy", "Lorenzo di Credi", "Margaret Livingstone", "Montefeltro"]}
{"id": 38, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa bears a strong resemblance to many Renaissance depictions of the Virgin Mary, who was at that time seen as an ideal for womanhood.The depiction of the sitter in three-quarter profile is similar to late 15th-century works by Lorenzo di Credi and Agnolo di Domenico del Mazziere. Zöllner notes that the sitter's general position can be traced back to Flemish models and that \"in particular the vertical slices of columns at both sides of the panel had precedents in Flemish portraiture.\" Woods-Marsden cites Hans Memling's portrait of Benedetto Portinari  or Italian imitations such as Sebastiano Mainardi's pendant portraits for the use of a loggia, which has the effect of mediating between the sitter and the distant landscape, a feature missing from Leonardo's earlier portrait of Ginevra de' Benci.The painting was one of the first Italian portraits to depict the sitter in front of an imaginary landscape, although some scholars favor a realistic description, and Leonardo was one of the first painters to use aerial perspective. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her, a vast landscape recedes to icy mountains, winding paths and a distant bridge, giving only the slightest indications of human presence. Leonardo has chosen to place the horizon line not at the neck, as he did with Ginevra de' Benci, but on a level with the eyes, thus linking the figure with the landscape and emphasizing the mysterious nature of the painting. Other bridges with similar arches suggested as possible locations had more arches.</ref>}} In 2007, French engineer Pascal Cotte announced that his ultra-high resolution scans of the painting provide evidence that Mona Lisa was originally painted with eyelashes and eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning. Cotte discovered that the painting had been reworked several times, with changes made to the size of the face and the direction of gaze. He also found that in one layer the subject was depicted wearing numerous hairpins and a headdress adorned with pearls which was later scrubbed out and overpainted.There has been much speculation regarding the painting's model and landscape. For example, Leonardo probably painted his model faithfully since her beauty is not seen as being among the best, \"even when measured by late quattrocento  or even twenty-first century standards.\" Some historians in Eastern art, such as Yukio Yashiro, argue that the landscape in the background of the picture was influenced by Chinese paintings,Research in 2003 by Professor Margaret Livingstone of Harvard University said that Mona Lisa's smile disappears when observed with direct vision, known as foveal. Because of the way the human eye processes visual information, it is less suited to pick up shadows directly; however, peripheral vision can pick up shadows well.Research in 2008 by a geomorphology professor at Urbino University and an artist-photographer revealed that Mona Lisas landscape was similar to some views in the Montefeltro region in the Italian provinces of Pesaro and Urbino, and Rimini. Research in 2023/2024 by geologist and art historian Ann Pizzorusso suggests that the landscape contains \"several recognisable features of Lecco, on the shores of ke Como in the Lombardy region of northern Italy.\".", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Description?Veuillez sortir en anglais.", "section_entities": ["Agnolo di Domenico del Mazziere", "Chinese painting", "Ginevra de' Benci", "Hans Memling", "Harvard University", "Italy", "Lecco", "Lombardy", "Lorenzo di Credi", "Margaret Livingstone", "Montefeltro"]}
{"id": 39, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa bears a strong resemblance to many Renaissance depictions of the Virgin Mary, who was at that time seen as an ideal for womanhood.The depiction of the sitter in three-quarter profile is similar to late 15th-century works by Lorenzo di Credi and Agnolo di Domenico del Mazziere. Zöllner notes that the sitter's general position can be traced back to Flemish models and that \"in particular the vertical slices of columns at both sides of the panel had precedents in Flemish portraiture.\" Woods-Marsden cites Hans Memling's portrait of Benedetto Portinari  or Italian imitations such as Sebastiano Mainardi's pendant portraits for the use of a loggia, which has the effect of mediating between the sitter and the distant landscape, a feature missing from Leonardo's earlier portrait of Ginevra de' Benci.The painting was one of the first Italian portraits to depict the sitter in front of an imaginary landscape, although some scholars favor a realistic description, and Leonardo was one of the first painters to use aerial perspective. The enigmatic woman is portrayed seated in what appears to be an open loggia with dark pillar bases on either side. Behind her, a vast landscape recedes to icy mountains, winding paths and a distant bridge, giving only the slightest indications of human presence. Leonardo has chosen to place the horizon line not at the neck, as he did with Ginevra de' Benci, but on a level with the eyes, thus linking the figure with the landscape and emphasizing the mysterious nature of the painting. Other bridges with similar arches suggested as possible locations had more arches.</ref>}} In 2007, French engineer Pascal Cotte announced that his ultra-high resolution scans of the painting provide evidence that Mona Lisa was originally painted with eyelashes and eyebrows, but that these had gradually disappeared over time, perhaps as a result of overcleaning. Cotte discovered that the painting had been reworked several times, with changes made to the size of the face and the direction of gaze. He also found that in one layer the subject was depicted wearing numerous hairpins and a headdress adorned with pearls which was later scrubbed out and overpainted.There has been much speculation regarding the painting's model and landscape. For example, Leonardo probably painted his model faithfully since her beauty is not seen as being among the best, \"even when measured by late quattrocento  or even twenty-first century standards.\" Some historians in Eastern art, such as Yukio Yashiro, argue that the landscape in the background of the picture was influenced by Chinese paintings,Research in 2003 by Professor Margaret Livingstone of Harvard University said that Mona Lisa's smile disappears when observed with direct vision, known as foveal. Because of the way the human eye processes visual information, it is less suited to pick up shadows directly; however, peripheral vision can pick up shadows well.Research in 2008 by a geomorphology professor at Urbino University and an artist-photographer revealed that Mona Lisas landscape was similar to some views in the Montefeltro region in the Italian provinces of Pesaro and Urbino, and Rimini. Research in 2023/2024 by geologist and art historian Ann Pizzorusso suggests that the landscape contains \"several recognisable features of Lecco, on the shores of ke Como in the Lombardy region of northern Italy.\".", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Description?Veuillez sortir en anglais.", "section_entities": ["Agnolo di Domenico del Mazziere", "Chinese painting", "Ginevra de' Benci", "Hans Memling", "Harvard University", "Italy", "Lecco", "Lombardy", "Lorenzo di Credi", "Margaret Livingstone", "Montefeltro"]}
{"id": 40, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa has survived for more than 500 years, and an international commission convened in 1952 noted that \"the picture is in a remarkable state of preservation.\" It has never been fully restored, so the current condition is partly due to a variety of conservation treatments the painting has undergone. A detailed analysis in 1933 by Madame de Gironde revealed that earlier restorers had \"acted with a great deal of restraint.\" the 2004–05 conservation team was optimistic about the future of the work.", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Conservation.Veuillez sortir en anglais.", "section_entities": []}
{"id": 41, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa has survived for more than 500 years, and an international commission convened in 1952 noted that \"the picture is in a remarkable state of preservation.\" It has never been fully restored, so the current condition is partly due to a variety of conservation treatments the painting has undergone. A detailed analysis in 1933 by Madame de Gironde revealed that earlier restorers had \"acted with a great deal of restraint.\" the 2004–05 conservation team was optimistic about the future of the work.", "entry": "section", "prompt": "Expliquer la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 42, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa has survived for more than 500 years, and an international commission convened in 1952 noted that \"the picture is in a remarkable state of preservation.\" It has never been fully restored, so the current condition is partly due to a variety of conservation treatments the painting has undergone. A detailed analysis in 1933 by Madame de Gironde revealed that earlier restorers had \"acted with a great deal of restraint.\" the 2004–05 conservation team was optimistic about the future of the work.", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Conservation?Veuillez sortir en anglais.", "section_entities": []}
{"id": 43, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa has survived for more than 500 years, and an international commission convened in 1952 noted that \"the picture is in a remarkable state of preservation.\" It has never been fully restored, so the current condition is partly due to a variety of conservation treatments the painting has undergone. A detailed analysis in 1933 by Madame de Gironde revealed that earlier restorers had \"acted with a great deal of restraint.\" the 2004–05 conservation team was optimistic about the future of the work.", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Conservation?Veuillez sortir en anglais.", "section_entities": []}
{"id": 44, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa began influencing contemporary Florentine painting even before its completion. Raphael, who had been to Leonardo's workshop several times, promptly used elements of the portrait's composition and format in several of his works, such as Young Woman with Unicorn , and Portrait of Maddalena Doni .Where earlier critics such as Vasari in the 16th century and André Félibien in the 17th praised the picture for its realism, by the mid-19th century, writers began to regard the Mona Lisa as imbued with a sense of mystery and romance.  In 1859, Théophile Gautier wrote that the Mona Lisa was a \"sphinx of beauty who smiles so mysteriously\" and that \"Beneath the form expressed one feels a thought that is vague, infinite, inexpressible. One is moved, troubled ... repressed desires, hopes that drive one to despair, stir painfully.\" Walter Pater's essay of 1869 described the sitter as \"older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in the deep seas, and keeps their fallen day about her.\"By the early 20th century, some critics started to feel the painting had become a repository for subjective exegeses and theories. Upon the painting's theft in 1911, Renaissance historian Bernard Berenson admitted that it had \"simply become an incubus, and [he] was glad to be rid of her.\" Jean Metzinger's Le goûter  was exhibited at the 1911 Salon d'Automne and was sarcastically described as \"la Joconde à la cuiller\"  by art critic Louis Vauxcelles on the front page of Gil Blas. André Salmon subsequently described the painting as \"The Mona Lisa of Cubism\".The avant-garde art world has made note of the Mona Lisas undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, Le rire, an image of a Mona Lisa smoking a pipe, by Sapeck , was shown at the \"Incoherents\" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created L.H.O.O.Q., a Mona Lisa parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like \"Elle a chaud au cul\" meaning: \"she has a hot ass\", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.Salvador Dalí, famous for his surrealist work, painted Self portrait as Mona Lisa in 1954. Andy Warhol created serigraph prints of multiple Mona Lisas, called Thirty Are Better than One, following the painting's visit to the United States in 1963. The French urban artist known pseudonymously as Invader has created versions of the Mona Lisa on city walls in Paris and Tokyo using a mosaic style. A 2014 New Yorker magazine cartoon parodies the supposed enigma of the Mona Lisa smile in an animation showing progressively more maniacal smiles.", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Héritage.Veuillez sortir en anglais.", "section_entities": ["André Félibien", "André Salmon", "Andy Warhol", "Bernard Berenson", "Dada", "Florentine painting", "Gil Blas", "Incoherents", "Jean Metzinger", "L.H.O.O.Q.", "Louis Vauxcelles", "Marcel Duchamp", "Portrait of Maddalena Doni"]}
{"id": 45, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa began influencing contemporary Florentine painting even before its completion. Raphael, who had been to Leonardo's workshop several times, promptly used elements of the portrait's composition and format in several of his works, such as Young Woman with Unicorn , and Portrait of Maddalena Doni .Where earlier critics such as Vasari in the 16th century and André Félibien in the 17th praised the picture for its realism, by the mid-19th century, writers began to regard the Mona Lisa as imbued with a sense of mystery and romance.  In 1859, Théophile Gautier wrote that the Mona Lisa was a \"sphinx of beauty who smiles so mysteriously\" and that \"Beneath the form expressed one feels a thought that is vague, infinite, inexpressible. One is moved, troubled ... repressed desires, hopes that drive one to despair, stir painfully.\" Walter Pater's essay of 1869 described the sitter as \"older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in the deep seas, and keeps their fallen day about her.\"By the early 20th century, some critics started to feel the painting had become a repository for subjective exegeses and theories. Upon the painting's theft in 1911, Renaissance historian Bernard Berenson admitted that it had \"simply become an incubus, and [he] was glad to be rid of her.\" Jean Metzinger's Le goûter  was exhibited at the 1911 Salon d'Automne and was sarcastically described as \"la Joconde à la cuiller\"  by art critic Louis Vauxcelles on the front page of Gil Blas. André Salmon subsequently described the painting as \"The Mona Lisa of Cubism\".The avant-garde art world has made note of the Mona Lisas undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, Le rire, an image of a Mona Lisa smoking a pipe, by Sapeck , was shown at the \"Incoherents\" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created L.H.O.O.Q., a Mona Lisa parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like \"Elle a chaud au cul\" meaning: \"she has a hot ass\", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.Salvador Dalí, famous for his surrealist work, painted Self portrait as Mona Lisa in 1954. Andy Warhol created serigraph prints of multiple Mona Lisas, called Thirty Are Better than One, following the painting's visit to the United States in 1963. The French urban artist known pseudonymously as Invader has created versions of the Mona Lisa on city walls in Paris and Tokyo using a mosaic style. A 2014 New Yorker magazine cartoon parodies the supposed enigma of the Mona Lisa smile in an animation showing progressively more maniacal smiles.", "entry": "section", "prompt": "Expliquer la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["André Félibien", "André Salmon", "Andy Warhol", "Bernard Berenson", "Dada", "Florentine painting", "Gil Blas", "Incoherents", "Jean Metzinger", "L.H.O.O.Q.", "Louis Vauxcelles", "Marcel Duchamp", "Portrait of Maddalena Doni"]}
{"id": 46, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa began influencing contemporary Florentine painting even before its completion. Raphael, who had been to Leonardo's workshop several times, promptly used elements of the portrait's composition and format in several of his works, such as Young Woman with Unicorn , and Portrait of Maddalena Doni .Where earlier critics such as Vasari in the 16th century and André Félibien in the 17th praised the picture for its realism, by the mid-19th century, writers began to regard the Mona Lisa as imbued with a sense of mystery and romance.  In 1859, Théophile Gautier wrote that the Mona Lisa was a \"sphinx of beauty who smiles so mysteriously\" and that \"Beneath the form expressed one feels a thought that is vague, infinite, inexpressible. One is moved, troubled ... repressed desires, hopes that drive one to despair, stir painfully.\" Walter Pater's essay of 1869 described the sitter as \"older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in the deep seas, and keeps their fallen day about her.\"By the early 20th century, some critics started to feel the painting had become a repository for subjective exegeses and theories. Upon the painting's theft in 1911, Renaissance historian Bernard Berenson admitted that it had \"simply become an incubus, and [he] was glad to be rid of her.\" Jean Metzinger's Le goûter  was exhibited at the 1911 Salon d'Automne and was sarcastically described as \"la Joconde à la cuiller\"  by art critic Louis Vauxcelles on the front page of Gil Blas. André Salmon subsequently described the painting as \"The Mona Lisa of Cubism\".The avant-garde art world has made note of the Mona Lisas undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, Le rire, an image of a Mona Lisa smoking a pipe, by Sapeck , was shown at the \"Incoherents\" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created L.H.O.O.Q., a Mona Lisa parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like \"Elle a chaud au cul\" meaning: \"she has a hot ass\", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.Salvador Dalí, famous for his surrealist work, painted Self portrait as Mona Lisa in 1954. Andy Warhol created serigraph prints of multiple Mona Lisas, called Thirty Are Better than One, following the painting's visit to the United States in 1963. The French urban artist known pseudonymously as Invader has created versions of the Mona Lisa on city walls in Paris and Tokyo using a mosaic style. A 2014 New Yorker magazine cartoon parodies the supposed enigma of the Mona Lisa smile in an animation showing progressively more maniacal smiles.", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Héritage?Veuillez sortir en anglais.", "section_entities": ["André Félibien", "André Salmon", "Andy Warhol", "Bernard Berenson", "Dada", "Florentine painting", "Gil Blas", "Incoherents", "Jean Metzinger", "L.H.O.O.Q.", "Louis Vauxcelles", "Marcel Duchamp", "Portrait of Maddalena Doni"]}
{"id": 47, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The Mona Lisa began influencing contemporary Florentine painting even before its completion. Raphael, who had been to Leonardo's workshop several times, promptly used elements of the portrait's composition and format in several of his works, such as Young Woman with Unicorn , and Portrait of Maddalena Doni .Where earlier critics such as Vasari in the 16th century and André Félibien in the 17th praised the picture for its realism, by the mid-19th century, writers began to regard the Mona Lisa as imbued with a sense of mystery and romance.  In 1859, Théophile Gautier wrote that the Mona Lisa was a \"sphinx of beauty who smiles so mysteriously\" and that \"Beneath the form expressed one feels a thought that is vague, infinite, inexpressible. One is moved, troubled ... repressed desires, hopes that drive one to despair, stir painfully.\" Walter Pater's essay of 1869 described the sitter as \"older than the rocks among which she sits; like the vampire, she has been dead many times, and learned the secrets of the grave; and has been a diver in the deep seas, and keeps their fallen day about her.\"By the early 20th century, some critics started to feel the painting had become a repository for subjective exegeses and theories. Upon the painting's theft in 1911, Renaissance historian Bernard Berenson admitted that it had \"simply become an incubus, and [he] was glad to be rid of her.\" Jean Metzinger's Le goûter  was exhibited at the 1911 Salon d'Automne and was sarcastically described as \"la Joconde à la cuiller\"  by art critic Louis Vauxcelles on the front page of Gil Blas. André Salmon subsequently described the painting as \"The Mona Lisa of Cubism\".The avant-garde art world has made note of the Mona Lisas undeniable popularity. Because of the painting's overwhelming stature, Dadaists and Surrealists often produce modifications and caricatures. In 1883, Le rire, an image of a Mona Lisa smoking a pipe, by Sapeck , was shown at the \"Incoherents\" show in Paris. In 1919, Marcel Duchamp, one of the most influential modern artists, created L.H.O.O.Q., a Mona Lisa parody made by adorning a cheap reproduction with a moustache and goatee. Duchamp added an inscription, which when read out loud in French sounds like \"Elle a chaud au cul\" meaning: \"she has a hot ass\", implying the woman in the painting is in a state of sexual excitement and intended as a Freudian joke. According to Rhonda R. Shearer, the apparent reproduction is in fact a copy partly modelled on Duchamp's own face.Salvador Dalí, famous for his surrealist work, painted Self portrait as Mona Lisa in 1954. Andy Warhol created serigraph prints of multiple Mona Lisas, called Thirty Are Better than One, following the painting's visit to the United States in 1963. The French urban artist known pseudonymously as Invader has created versions of the Mona Lisa on city walls in Paris and Tokyo using a mosaic style. A 2014 New Yorker magazine cartoon parodies the supposed enigma of the Mona Lisa smile in an animation showing progressively more maniacal smiles.", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Héritage?Veuillez sortir en anglais.", "section_entities": ["André Félibien", "André Salmon", "Andy Warhol", "Bernard Berenson", "Dada", "Florentine painting", "Gil Blas", "Incoherents", "Jean Metzinger", "L.H.O.O.Q.", "Louis Vauxcelles", "Marcel Duchamp", "Portrait of Maddalena Doni"]}
{"id": 48, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "If a person being photographed looks into the camera lens, the image produced provides an illusion that viewers perceive as the subject looking at them, irrespective of the photograph's position. It is presumably for this reason that many people, while taking photographs, ask subjects to look at the camera rather than anywhere else. In psychology, this is known as the \"Mona Lisa illusion\", which was named after the famous painting that also presents the same illusion.", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Illusion de Mona Lisa.Veuillez sortir en anglais.", "section_entities": []}
{"id": 49, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "If a person being photographed looks into the camera lens, the image produced provides an illusion that viewers perceive as the subject looking at them, irrespective of the photograph's position. It is presumably for this reason that many people, while taking photographs, ask subjects to look at the camera rather than anywhere else. In psychology, this is known as the \"Mona Lisa illusion\", which was named after the famous painting that also presents the same illusion.", "entry": "section", "prompt": "Expliquer la Illusion de Mona Lisa de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 50, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "If a person being photographed looks into the camera lens, the image produced provides an illusion that viewers perceive as the subject looking at them, irrespective of the photograph's position. It is presumably for this reason that many people, while taking photographs, ask subjects to look at the camera rather than anywhere else. In psychology, this is known as the \"Mona Lisa illusion\", which was named after the famous painting that also presents the same illusion.", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Illusion de Mona Lisa?Veuillez sortir en anglais.", "section_entities": []}
{"id": 51, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "If a person being photographed looks into the camera lens, the image produced provides an illusion that viewers perceive as the subject looking at them, irrespective of the photograph's position. It is presumably for this reason that many people, while taking photographs, ask subjects to look at the camera rather than anywhere else. In psychology, this is known as the \"Mona Lisa illusion\", which was named after the famous painting that also presents the same illusion.", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Illusion de Mona Lisa?Veuillez sortir en anglais.", "section_entities": []}
{"id": 52, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "List of works by Leonardo da Vinci List of most expensive paintings List of stolen paintings Speculations about Mona Lisa Male Mona Lisa theories Two-Mona Lisa theory", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Leonardo da Vinci", "List of most expensive paintings", "List of stolen paintings", "List of works by Leonardo da Vinci", "Male Mona Lisa theories"]}
{"id": 53, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "List of works by Leonardo da Vinci List of most expensive paintings List of stolen paintings Speculations about Mona Lisa Male Mona Lisa theories Two-Mona Lisa theory", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Leonardo da Vinci", "List of most expensive paintings", "List of stolen paintings", "List of works by Leonardo da Vinci", "Male Mona Lisa theories"]}
{"id": 54, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "List of works by Leonardo da Vinci List of most expensive paintings List of stolen paintings Speculations about Mona Lisa Male Mona Lisa theories Two-Mona Lisa theory", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Leonardo da Vinci", "List of most expensive paintings", "List of stolen paintings", "List of works by Leonardo da Vinci", "Male Mona Lisa theories"]}
{"id": 55, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "List of works by Leonardo da Vinci List of most expensive paintings List of stolen paintings Speculations about Mona Lisa Male Mona Lisa theories Two-Mona Lisa theory", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Leonardo da Vinci", "List of most expensive paintings", "List of stolen paintings", "List of works by Leonardo da Vinci", "Male Mona Lisa theories"]}
{"id": 56, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "}}    }}  }}  }}    }}   }}", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Sources.Veuillez sortir en anglais.", "section_entities": []}
{"id": 57, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "}}    }}  }}  }}    }}   }}", "entry": "section", "prompt": "Expliquer la Sources de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 58, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "}}    }}  }}  }}    }}   }}", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Sources?Veuillez sortir en anglais.", "section_entities": []}
{"id": 59, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "}}    }}  }}  }}    }}   }}", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Sources?Veuillez sortir en anglais.", "section_entities": []}
{"id": 60, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "McMullen, Roy . Mona Lisa: The Picture and the Myth. Boston: Houghton Mifflin Company. Sassoon, Donald . Becoming Mona Lisa: The Making of a Global Icon. New York: Harcourt, Inc.", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Lectures supplémentaires.Veuillez sortir en anglais.", "section_entities": []}
{"id": 61, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "McMullen, Roy . Mona Lisa: The Picture and the Myth. Boston: Houghton Mifflin Company. Sassoon, Donald . Becoming Mona Lisa: The Making of a Global Icon. New York: Harcourt, Inc.", "entry": "section", "prompt": "Expliquer la Lectures supplémentaires de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 62, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "McMullen, Roy . Mona Lisa: The Picture and the Myth. Boston: Houghton Mifflin Company. Sassoon, Donald . Becoming Mona Lisa: The Making of a Global Icon. New York: Harcourt, Inc.", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": []}
{"id": 63, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "McMullen, Roy . Mona Lisa: The Picture and the Myth. Boston: Houghton Mifflin Company. Sassoon, Donald . Becoming Mona Lisa: The Making of a Global Icon. New York: Harcourt, Inc.", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": []}
{"id": 64, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "of the podcast audio.     Discussion by Janina Ramirez and Martin Kemp:", "entry": "section", "prompt": "Concentrez-vous sur La Joconde et expliquez la Liensexternes.Veuillez sortir en anglais.", "section_entities": ["Janina Ramirez", "Martin Kemp"]}
{"id": 65, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "of the podcast audio.     Discussion by Janina Ramirez and Martin Kemp:", "entry": "section", "prompt": "Expliquer la Liensexternes de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Janina Ramirez", "Martin Kemp"]}
{"id": 66, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "of the podcast audio.     Discussion by Janina Ramirez and Martin Kemp:", "entry": "section", "prompt": "Comment La Joconde explique-t-il sa Liensexternes?Veuillez sortir en anglais.", "section_entities": ["Janina Ramirez", "Martin Kemp"]}
{"id": 67, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "of the podcast audio.     Discussion by Janina Ramirez and Martin Kemp:", "entry": "section", "prompt": "Dans La Joconde, comment est discutée la Liensexternes?Veuillez sortir en anglais.", "section_entities": ["Janina Ramirez", "Martin Kemp"]}
{"id": 68, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Création, date et la Description.Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 69, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Expliquer la Création, date concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 70, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Création, date de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 71, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Création, date dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 72, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Refuge, vol, vandalisme et la Description.Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 73, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Expliquer la Refuge, vol, vandalisme concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 74, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Refuge, vol, vandalisme de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 75, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Refuge, vol, vandalisme dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 76, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la analyse moderne et la Description.Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 77, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Expliquer la analyse moderne concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 78, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Dans La Joconde, comment la analyse moderne de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 79, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la analyse moderne dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 80, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Panneau de peuplier et la Description.Veuillez sortir en anglais.", "section_entities": []}
{"id": 81, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Expliquer la Panneau de peuplier concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 82, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Panneau de peuplier de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 83, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Panneau de peuplier dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 84, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Cadre et la Description.Veuillez sortir en anglais.", "section_entities": []}
{"id": 85, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Expliquer la Cadre concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 86, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Cadre de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 87, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Cadre dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 88, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Nettoyage, retouche et la Description.Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 89, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Expliquer la Nettoyage, retouche concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 90, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Nettoyage, retouche de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 91, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Nettoyage, retouche dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 92, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Afficher et la Description.Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 93, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Expliquer la Afficher concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 94, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Afficher de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 95, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Afficher dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 96, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Renommée et la Description.Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 97, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Expliquer la Renommée concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 98, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Dans La Joconde, comment la Renommée de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 99, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Renommée dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 100, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la valeur financière et la Description.Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 101, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Expliquer la valeur financière concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 102, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Dans La Joconde, comment la valeur financière de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 103, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la valeur financière dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 104, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Représentations culturelles et la Description.Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 105, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Expliquer la Représentations culturelles concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 106, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Représentations culturelles de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 107, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Représentations culturelles dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 108, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Prado Musée La Joconde et la Description.Veuillez sortir en anglais.", "section_entities": []}
{"id": 109, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Expliquer la Prado Musée La Joconde concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 110, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Prado Musée La Joconde de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 111, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Prado Musée La Joconde dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 112, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la IsleworthMonaLisa et la Description.Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 113, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Expliquer la IsleworthMonaLisa concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 114, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Dans La Joconde, comment la IsleworthMonaLisa de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 115, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la IsleworthMonaLisa dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 116, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Hermitage Mona Lisa et la Description.Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 117, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Expliquer la Hermitage Mona Lisa concernant la Description de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 118, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Hermitage Mona Lisa de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 119, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Hermitage Mona Lisa dans la Description de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 120, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Création, date et la Conservation.Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 121, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Expliquer la Création, date concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 122, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Création, date de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 123, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Création, date dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 124, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Refuge, vol, vandalisme et la Conservation.Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 125, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Expliquer la Refuge, vol, vandalisme concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 126, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Refuge, vol, vandalisme de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 127, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Refuge, vol, vandalisme dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 128, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la analyse moderne et la Conservation.Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 129, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Expliquer la analyse moderne concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 130, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Dans La Joconde, comment la analyse moderne de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 131, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la analyse moderne dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 132, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Panneau de peuplier et la Conservation.Veuillez sortir en anglais.", "section_entities": []}
{"id": 133, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Expliquer la Panneau de peuplier concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 134, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Panneau de peuplier de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 135, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Panneau de peuplier dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 136, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Cadre et la Conservation.Veuillez sortir en anglais.", "section_entities": []}
{"id": 137, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Expliquer la Cadre concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 138, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Cadre de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 139, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Cadre dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 140, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Nettoyage, retouche et la Conservation.Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 141, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Expliquer la Nettoyage, retouche concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 142, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Nettoyage, retouche de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 143, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Nettoyage, retouche dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 144, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Afficher et la Conservation.Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 145, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Expliquer la Afficher concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 146, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Afficher de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 147, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Afficher dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 148, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Renommée et la Conservation.Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 149, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Expliquer la Renommée concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 150, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Dans La Joconde, comment la Renommée de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 151, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Renommée dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 152, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la valeur financière et la Conservation.Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 153, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Expliquer la valeur financière concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 154, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Dans La Joconde, comment la valeur financière de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 155, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la valeur financière dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 156, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Représentations culturelles et la Conservation.Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 157, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Expliquer la Représentations culturelles concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 158, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Représentations culturelles de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 159, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Représentations culturelles dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 160, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Prado Musée La Joconde et la Conservation.Veuillez sortir en anglais.", "section_entities": []}
{"id": 161, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Expliquer la Prado Musée La Joconde concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 162, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Prado Musée La Joconde de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 163, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Prado Musée La Joconde dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 164, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la IsleworthMonaLisa et la Conservation.Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 165, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Expliquer la IsleworthMonaLisa concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 166, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Dans La Joconde, comment la IsleworthMonaLisa de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 167, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la IsleworthMonaLisa dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 168, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Hermitage Mona Lisa et la Conservation.Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 169, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Expliquer la Hermitage Mona Lisa concernant la Conservation de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 170, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Hermitage Mona Lisa de la Conservation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 171, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Hermitage Mona Lisa dans la Conservation de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 172, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Création, date et la Héritage.Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 173, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Expliquer la Création, date concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 174, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Création, date de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 175, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Of Leonardo da Vinci's works, the Mona Lisa is the only portrait whose authenticity has never been seriously questioned, and one of four works—the others being Saint Jerome in the Wilderness, Adoration of the Magi and The st Supper—whose attribution has avoided controversy. He had begun working on a portrait of Lisa del Giocondo, the model of the Mona Lisa, by October 1503. Although the Louvre states that it was \"doubtless painted between 1503 and 1506\", Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513. According to Vasari, \"after he had lingered over it four years, [he] left it unfinished\". Leonardo's right hand was paralytic , which may indicate why he left the Mona Lisa unfinished.</ref>}}Circa 1505, Other later copies of the Mona Lisa, such as those in the National Museum of Art, Architecture and Design and The Walters Art Museum, also display large flanking columns. As a result, it was thought that the Mona Lisa had been trimmed. However, by 1993, Frank Zöllner observed that the painting surface had never been trimmed; this was confirmed through a series of tests in 2004. while Zöllner states that the sketch may be after another Leonardo portrait of the same subject. ... showed His Excellency three pictures, one of a certain Florentine lady done from life at the instance of the late Magnificent, Giuliano de' Medici.\"}}—but this was likely an error. A number of experts have argued that Leonardo made two versions . The hypothetical first portrait, displaying prominent columns, would have been commissioned by Giocondo , and left unfinished in Leonardo's pupil and assistant Salaì's possession until his death in 1524. The second, commissioned by Giuliano de' Medici , would have been sold by Salaì to Francis I in 1518 and is the one in the Louvre today. Others believe that there was only one true Mona Lisa but are divided as to the two aforementioned fates. At some point in the 16th century, a varnish was applied to the painting. In 1797, it went on permanent display at the Louvre.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Création, date dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Frank Zöllner", "Leonardo da Vinci", "Lisa del Giocondo", "Louvre", "Louvre"]}
{"id": 176, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Refuge, vol, vandalisme et la Héritage.Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 177, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Expliquer la Refuge, vol, vandalisme concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 178, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Refuge, vol, vandalisme de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 179, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "After the French Revolution, the painting was moved to the Louvre, but spent a brief period in the bedroom of Napoleon  in the Tuileries Palace. During the Franco-Prussian War , the painting was moved from the Louvre to the Brest Arsenal. In 1911, the painting was still not popular among the lay-public. On 21 August 1911, the painting was stolen from the Louvre. The painting was first reported missing the next day by painter Louis Béroud. After some confusion as to whether the painting was being photographed somewhere, the Louvre was closed for a week for investigation. French poet Guillaume Apollinaire came under suspicion and was arrested and imprisoned. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning. Both were later exonerated. The real culprit was Louvre employee Vincenzo Peruggia, who had helped construct the painting's glass case. He carried out the theft by entering the building during regular hours, hiding in a broom closet, and walking out with the painting hidden under his coat after the museum had closed. Peruggia was an Italian patriot who believed that Leonardo's painting should have been returned to an Italian museum. Peruggia may have been motivated by an associate whose copies of the original would significantly rise in value after the painting's theft. After having kept the Mona Lisa in his apartment for two years, Peruggia grew impatient and was caught when he attempted to sell it to Giovanni Poggi, director of the Uffizi Gallery in Florence. It was exhibited in the Uffizi Gallery for over two weeks and returned to the Louvre on 4 January 1914. Peruggia served six months in prison for the crime and was hailed for his patriotism in Italy.In recent decades, the painting has been temporarily moved to accommodate renovations to the Louvre on three occasions: between 1992 and 1995, from 2001 to 2005, and again in 2019. A new queuing system introduced in 2019 reduces the amount of time museum visitors have to wait in line to see the painting. After going through the queue, a group has about 30 seconds to see the painting.On 30 December 1956, Bolivian Ugo Ungaza Villegas threw a rock at the Mona Lisa while it was on display at the Louvre. He did so with such force that it shattered the glass case and dislodged a speck of pigment near the left elbow. The painting was protected by glass because a few years earlier a man who claimed to be in love with the painting had cut it with a razor blade and tried to steal it. Since then, bulletproof glass has been used to shield the painting from any further attacks. Subsequently, on 21 April 1974, while the painting was on display at the Tokyo National Museum, a woman sprayed it with red paint as a protest against that museum's failure to provide access for disabled people. On 2 August 2009, a Russian woman, distraught over being denied French citizenship, threw a ceramic teacup purchased at the Louvre; the vessel shattered against the glass enclosure. In both cases, the painting was undamaged.On 29 May 2022, a male activist, disguised as a woman in a wheelchair, threw cake at the protective glass covering the painting in an apparent attempt to raise awareness for climate change. The painting was not damaged. The man was arrested and placed in psychiatric care in the police headquarters. An investigation was opened after the Louvre filed a complaint. On 28 January 2024, two attackers from the environmentalist group Riposte Alimentaire  threw soup at the painting's protective glass, demanding the right to \"healthy and sustainable food\" and criticizing the contemporary state of agriculture.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Refuge, vol, vandalisme dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Brest Arsenal", "Florence", "Franco-Prussian War", "French Revolution", "Guillaume Apollinaire", "Italy", "Louis Béroud", "Louvre", "Louvre", "Napoleon", "Pablo Picasso"]}
{"id": 180, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la analyse moderne et la Héritage.Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 181, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Expliquer la analyse moderne concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 182, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Dans La Joconde, comment la analyse moderne de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 183, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "In the early 21st century, French scientist Pascal Cotte hypothesized a hidden portrait underneath the surface of the painting. He analyzed the painting in the Louvre with  reflective light technology beginning in 2004, and produced circumstantial evidence for his theory. Cotte admits that his investigation was carried out only in support of his hypotheses and should not be considered as definitive proof. but does not fit with historical descriptions of the painting. Both Vasari and Gian Paolo Lomazzo describe the subject as smiling, unlike the subject in Cotte's supposed portrait.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la analyse moderne dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Gian Paolo Lomazzo", "Louvre", "Louvre"]}
{"id": 184, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Panneau de peuplier et la Héritage.Veuillez sortir en anglais.", "section_entities": []}
{"id": 185, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Expliquer la Panneau de peuplier concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 186, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Panneau de peuplier de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 187, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "At some point, the Mona Lisa was removed from its original frame. The unconstrained poplar panel warped freely with changes in humidity, and as a result, a crack developed near the top of the panel, extending down to the hairline of the figure. In the mid-18th century to early 19th century, two butterfly-shaped walnut braces were inserted into the back of the panel to a depth of about one third the thickness of the panel. This intervention was skilfully executed, and successfully stabilized the crack. Sometime between 1888 and 1905, or perhaps during the picture's theft, the upper brace fell out. A later restorer glued and lined the resulting socket and crack with cloth.The picture is kept under strict, climate-controlled conditions in its bulletproof glass case. The humidity is maintained at 50%&nbsp;±10%, and the temperature is maintained between 18 and 21&nbsp;°C. To compensate for fluctuations in relative humidity, the case is supplemented with a bed of silica gel treated to provide 55% relative humidity.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Panneau de peuplier dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 188, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Cadre et la Héritage.Veuillez sortir en anglais.", "section_entities": []}
{"id": 189, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Expliquer la Cadre concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 190, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Cadre de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 191, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Because the Mona Lisas poplar support expands and contracts with changes in humidity, the picture has experienced some warping. In response to warping and swelling experienced during its storage during World War II, and to prepare the picture for an exhibit to honour the anniversary of Leonardo's 500th birthday, the Mona Lisa was fitted in 1951 with a flexible oak frame with beech crosspieces. This flexible frame, which is used in addition to the decorative frame, exerts pressure on the panel to keep it from warping further. In 1970, the beech crosspieces were switched to maple after it was found that the beechwood had been infested with insects. In 2004–05, a conservation and study team replaced the maple crosspieces with sycamore ones, and an additional metal crosspiece was added for scientific measurement of the panel's warp.The Mona Lisa has had many different decorative frames in its history. In 1909, the art collector Comtesse de Béhague gave the portrait its current frame, a Renaissance-era work consistent with the historical period of the Mona Lisa. The edges of the painting have been trimmed at least once in its history to fit the picture into various frames, but no part of the original paint layer has been trimmed.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Cadre dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 192, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Nettoyage, retouche et la Héritage.Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 193, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Expliquer la Nettoyage, retouche concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 194, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Nettoyage, retouche de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 195, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "The first and most extensive recorded cleaning, revarnishing, and touch-up of the Mona Lisa was an 1809 wash and revarnishing undertaken by Jean-Marie Hooghstoel, who was responsible for the restoration of paintings for the galleries of the Musée Napoléon. The work involved cleaning with spirits, touch-ups of colour, and revarnishing the painting. In 1906, Louvre restorer Eugène Denizard performed watercolour retouches on areas of the paint layer disturbed by the crack in the panel. Denizard also retouched the edges of the picture with varnish to mask areas that had been covered initially by an older frame.In 1913, when the painting was recovered after its theft, Denizard was again called upon to work on the Mona Lisa. Denizard was directed to clean the picture without solvent and to lightly touch up several scratches on the painting with watercolour. In 1952, the varnish layer over the background in the painting was evened out. After the second 1956 attack, restorer Jean-Gabriel Goulinat was directed to touch up the damage to Mona Lisas left elbow with watercolour.In 1977, a new insect infestation was discovered in the back of the panel as a result of crosspieces installed to keep the painting from warping. This was treated on the spot with carbon tetrachloride, and later with an ethylene oxide treatment. In 1985, the spot was again treated with carbon tetrachloride as a preventive measure.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Nettoyage, retouche dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Louvre", "Louvre"]}
{"id": 196, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Afficher et la Héritage.Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 197, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Expliquer la Afficher concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 198, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Afficher de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 199, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "On 6 April 2005—following a period of curatorial maintenance, recording, and analysis—the painting was moved to a new location within the museum's Salle des États. It is displayed in a purpose-built, climate-controlled enclosure behind bulletproof glass. Since 2005, the painting has been illuminated by an LED lamp, and a new 20-watt LED lamp that was specially designed for this painting was installed in 2013. The lamp has a Colour Rendering Index of up to 98 and minimizes infrared and ultraviolet radiation, which could otherwise degrade the painting. The renovation of the gallery where the painting now resides was financed by the Japanese broadcaster Nippon Television. As of 2019, about 10.2&nbsp;million people view the painting at the Louvre each year.On the 500th anniversary of the master's death, the Louvre held the largest ever single exhibit of Leonardo's works from 24 October 2019 to 24 February 2020. The Mona Lisa was not included because it is in such great demand among visitors to the museum; the painting remained on display in its gallery.In 2024, it was decided to place the canvas in a separate room. This change will require significant construction changes, including a new entrance to the Louvre and two rooms in the basement under the museum's square courtyard. Due to the renovation, visitors will be able to pass directly to the painting, which will reduce queues at the Louvre.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Afficher dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["LED lamp", "Louvre", "Louvre"]}
{"id": 200, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Renommée et la Héritage.Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 201, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Expliquer la Renommée concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 202, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Dans La Joconde, comment la Renommée de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 203, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Today, the Mona Lisa is considered the most famous painting in the world, a destination painting, but until the 20th century, it was one of among many highly regarded artworks. Once part of King Francis I of France's collection, the Mona Lisa was among the first artworks to be exhibited in the Louvre, which became a national museum after the French Revolution. Leonardo began to be revered as a genius, and the painting's popularity grew in the mid-19th century when French intelligentsia praised it as mysterious and a representation of the femme fatale. The Baedeker guide in 1878 called it \"the most celebrated work of Leonardo in the Louvre\", but the painting was known more by the intelligentsia than the general public.The 1911 theft of the Mona Lisa and its subsequent return was reported worldwide, leading to a massive increase in public recognition of the painting. During the 20th century, it was an object for mass reproduction, merchandising, lampooning, and speculation, and was claimed to have been reproduced in \"300 paintings and 2,000 advertisements\".From December 1962 to March 1963, the French government lent it to the United States to be displayed in New York City and Washington, D.C. It was shipped on the new ocean liner SS France. In New York, an estimated 1.7&nbsp;million people queued \"in order to cast a glance at the Mona Lisa for 20 seconds or so.\"In 1974, the painting was exhibited in Tokyo and Moscow.In 2014, 9.3&nbsp;million people visited the Louvre. Former director Henri Loyrette reckoned that \"80&nbsp;percent of the people only want to see the Mona Lisa.\"", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Renommée dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Baedeker", "Francis I of France", "French Revolution", "Henri Loyrette", "Francis I of France", "Louvre", "Louvre"]}
{"id": 204, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la valeur financière et la Héritage.Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 205, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Expliquer la valeur financière concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 206, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Dans La Joconde, comment la valeur financière de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 207, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Before the 1962–1963 tour, the painting was assessed for insurance at $100&nbsp;million , making it, in practice, the most highly-valued painting in the world. The insurance was not purchased; instead, more was spent on security.In 2014, a France 24 article suggested that the painting could be sold to help ease the national debt, although it was observed that the Mona Lisa and other such art works were prohibited from being sold by French heritage law, which states that, \"Collections held in museums that belong to public bodies are considered public property and cannot be otherwise.\"", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la valeur financière dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["France 24"]}
{"id": 208, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Représentations culturelles et la Héritage.Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 209, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Expliquer la Représentations culturelles concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 210, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Représentations culturelles de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 211, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "Cultural depictions of the Mona Lisa include:  The 1915 Mona Lisa by German composer Max von Schillings.  Two 1930s films written about the theft, .  The 1950 song \"Mona Lisa\" recorded by Nat King Cole.  The 2011 song \"The Ballad of Mona Lisa\" by American rock band Panic! at the Disco.  The 2022 mystery film Glass Onion: A Knives Out Mystery depicts the destruction of the Mona Lisa, which has been borrowed from its location by a billionaire.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Représentations culturelles dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Glass Onion: A Knives Out Mystery", "Nat King Cole", "Panic! at the Disco"]}
{"id": 212, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Prado Musée La Joconde et la Héritage.Veuillez sortir en anglais.", "section_entities": []}
{"id": 213, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Expliquer la Prado Musée La Joconde concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 214, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Prado Musée La Joconde de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 215, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of Mona Lisa known as   was for centuries considered to be a work by Leonardo. However, since its restoration in 2012, it is now thought to have been executed by one of Leonardo's pupils in his studio at the same time as Mona Lisa was being painted. The Prado's conclusion that the painting is probably by Salaì  or by Melzi  has been called into question by others.The restored painting is from a slightly different perspective than the original Mona Lisa, leading to the speculation that it is part of the world's first stereoscopic pair. However, a more recent report has demonstrated that this stereoscopic pair in fact gives no reliable stereoscopic depth.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Prado Musée La Joconde dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": []}
{"id": 216, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la IsleworthMonaLisa et la Héritage.Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 217, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Expliquer la IsleworthMonaLisa concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 218, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Dans La Joconde, comment la IsleworthMonaLisa de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 219, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version of the Mona Lisa known as the Isleworth Mona Lisa was first bought by an English nobleman in 1778 and was rediscovered in 1913 by Hugh Blaker, an art connoisseur. The painting was presented to the media in 2012 by the Mona Lisa Foundation. It is a painting of the same subject as Leonardo da Vinci's Mona Lisa. The current scholarly consensus on attribution is unclear. Some experts, including Frank Zöllner, Martin Kemp, and Luke Syson denied the attribution to Leonardo; professors such as Salvatore Lorusso, Andrea Natali, and John F Asmus supported it; others like Alessandro Vezzosi and Carlo Pedretti were uncertain.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la IsleworthMonaLisa dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Alessandro Vezzosi", "Carlo Pedretti", "Frank Zöllner", "Hugh Blaker", "Isleworth Mona Lisa", "Leonardo da Vinci", "Luke Syson", "Martin Kemp"]}
{"id": 220, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Dans le contexte de La Joconde, expliquez la Hermitage Mona Lisa et la Héritage.Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 221, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Expliquer la Hermitage Mona Lisa concernant la Héritage de cette œuvre d'art, La Joconde.Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 222, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Dans La Joconde, comment la Hermitage Mona Lisa de la Héritage est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 223, "title": "La Joconde", "en_title": "Mona Lisa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/e/ec/Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg/220px-Mona_Lisa%2C_by_Leonardo_da_Vinci%2C_from_C2RMF_retouched.jpg", "reference": "A version known as the Hermitage Mona Lisa is in the Hermitage Museum and it was made by an unknown 16th-century artist.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Hermitage Mona Lisa dans la Héritage de La Joconde.Veuillez sortir en anglais.", "section_entities": ["Hermitage Museum"]}
{"id": 224, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "The Salon des Refusés, French for \"exhibition of rejects\" , 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.", "entry": "section", "prompt": "Concentrez-vous sur Salon des refusés et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Paris"]}
{"id": 225, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "The Salon des Refusés, French for \"exhibition of rejects\" , 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.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.", "section_entities": ["Paris"]}
{"id": 226, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "The Salon des Refusés, French for \"exhibition of rejects\" , 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.", "entry": "section", "prompt": "Comment Salon des refusés explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Paris"]}
{"id": 227, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "The Salon des Refusés, French for \"exhibition of rejects\" , 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.", "entry": "section", "prompt": "Dans Salon des refusés, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Paris"]}
{"id": 228, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a 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.", "entry": "section", "prompt": "Concentrez-vous sur Salon des refusés et expliquez la Contexte du Salon de 1863.Veuillez sortir en anglais.", "section_entities": ["Alexandre Cabanel", "Antoine Chintreuil", "Camille Pissarro", "Franz Xaver Winterhalter", "Gustave Courbet", "Impressionism", "James McNeill Whistler", "James McNeill Whistler", "Johan Jongkind", "Napoleon III", "Paris", "Symphony in White, No. 1: The White Girl", "Édouard Manet", "Émile Zola"]}
{"id": 229, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a 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.", "entry": "section", "prompt": "Expliquer la Contexte du Salon de 1863 de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.", "section_entities": ["Alexandre Cabanel", "Antoine Chintreuil", "Camille Pissarro", "Franz Xaver Winterhalter", "Gustave Courbet", "Impressionism", "James McNeill Whistler", "James McNeill Whistler", "Johan Jongkind", "Napoleon III", "Paris", "Symphony in White, No. 1: The White Girl", "Édouard Manet", "Émile Zola"]}
{"id": 230, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a 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.", "entry": "section", "prompt": "Comment Salon des refusés explique-t-il sa Contexte du Salon de 1863?Veuillez sortir en anglais.", "section_entities": ["Alexandre Cabanel", "Antoine Chintreuil", "Camille Pissarro", "Franz Xaver Winterhalter", "Gustave Courbet", "Impressionism", "James McNeill Whistler", "James McNeill Whistler", "Johan Jongkind", "Napoleon III", "Paris", "Symphony in White, No. 1: The White Girl", "Édouard Manet", "Émile Zola"]}
{"id": 231, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "The Paris Salon, sponsored by the French government and the Academy of Fine Arts, took place annually, and was a 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.", "entry": "section", "prompt": "Dans Salon des refusés, comment est discutée la Contexte du Salon de 1863?Veuillez sortir en anglais.", "section_entities": ["Alexandre Cabanel", "Antoine Chintreuil", "Camille Pissarro", "Franz Xaver Winterhalter", "Gustave Courbet", "Impressionism", "James McNeill Whistler", "James McNeill Whistler", "Johan Jongkind", "Napoleon III", "Paris", "Symphony in White, No. 1: The White Girl", "Édouard Manet", "Émile Zola"]}
{"id": 232, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Art historian Albert Boime wrote: \"The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public.\"", "entry": "section", "prompt": "Concentrez-vous sur Salon des refusés et expliquez la Héritage.Veuillez sortir en anglais.", "section_entities": ["Albert Boime"]}
{"id": 233, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Art historian Albert Boime wrote: \"The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public.\"", "entry": "section", "prompt": "Expliquer la Héritage de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.", "section_entities": ["Albert Boime"]}
{"id": 234, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Art historian Albert Boime wrote: \"The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public.\"", "entry": "section", "prompt": "Comment Salon des refusés explique-t-il sa Héritage?Veuillez sortir en anglais.", "section_entities": ["Albert Boime"]}
{"id": 235, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Art historian Albert Boime wrote: \"The Salon des Refusés introduced the democratic concept of a multi-style system  subject to the review of the general jury of the public.\"", "entry": "section", "prompt": "Dans Salon des refusés, comment est discutée la Héritage?Veuillez sortir en anglais.", "section_entities": ["Albert Boime"]}
{"id": 236, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Salon French art salons and academies Société des Artistes Indépendants Unjuried", "entry": "section", "prompt": "Concentrez-vous sur Salon des refusés et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["French art salons and academies", "Société des Artistes Indépendants", "Unjuried"]}
{"id": 237, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Salon French art salons and academies Société des Artistes Indépendants Unjuried", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.", "section_entities": ["French art salons and academies", "Société des Artistes Indépendants", "Unjuried"]}
{"id": 238, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Salon French art salons and academies Société des Artistes Indépendants Unjuried", "entry": "section", "prompt": "Comment Salon des refusés explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["French art salons and academies", "Société des Artistes Indépendants", "Unjuried"]}
{"id": 239, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Salon French art salons and academies Société des Artistes Indépendants Unjuried", "entry": "section", "prompt": "Dans Salon des refusés, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["French art salons and academies", "Société des Artistes Indépendants", "Unjuried"]}
{"id": 240, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . \"Juries, Protests, and Counter-Exhibitions Before 1850.\" The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, \"The Salon des Refuses and the Evolution of Modern Art,\" Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.", "entry": "section", "prompt": "Concentrez-vous sur Salon des refusés et expliquez la Sources.Veuillez sortir en anglais.", "section_entities": ["Albert Boime", "Paris", "Édouard Manet"]}
{"id": 241, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . \"Juries, Protests, and Counter-Exhibitions Before 1850.\" The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, \"The Salon des Refuses and the Evolution of Modern Art,\" Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.", "entry": "section", "prompt": "Expliquer la Sources de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.", "section_entities": ["Albert Boime", "Paris", "Édouard Manet"]}
{"id": 242, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . \"Juries, Protests, and Counter-Exhibitions Before 1850.\" The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, \"The Salon des Refuses and the Evolution of Modern Art,\" Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.", "entry": "section", "prompt": "Comment Salon des refusés explique-t-il sa Sources?Veuillez sortir en anglais.", "section_entities": ["Albert Boime", "Paris", "Édouard Manet"]}
{"id": 243, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "Brombert, Beth Archer . Édouard Manet: Rebel in a Frock Coat. Boston: Little, Brown.Hauptman, William . \"Juries, Protests, and Counter-Exhibitions Before 1850.\" The Art Bulletin 67 : 97-107.Mainardi, Patricia . Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867.  New Haven: Yale U Pr.Albert Boime, \"The Salon des Refuses and the Evolution of Modern Art,\" Art Quarterly 32 : 411-26Fae Brauer, Rivals and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013.", "entry": "section", "prompt": "Dans Salon des refusés, comment est discutée la Sources?Veuillez sortir en anglais.", "section_entities": ["Albert Boime", "Paris", "Édouard Manet"]}
{"id": 244, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "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:Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre  .", "entry": "subsection", "prompt": "Dans le contexte de Salon des refusés, expliquez la Le déjeuner sur l'herbe et la Contexte du Salon de 1863.Veuillez sortir en anglais.", "section_entities": ["Bois de Boulogne", "L'Œuvre", "Paris", "Émile Zola"]}
{"id": 245, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "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:Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre  .", "entry": "subsection", "prompt": "Expliquer la Le déjeuner sur l'herbe concernant la Contexte du Salon de 1863 de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.", "section_entities": ["Bois de Boulogne", "L'Œuvre", "Paris", "Émile Zola"]}
{"id": 246, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "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:Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre  .", "entry": "subsection", "prompt": "Dans Salon des refusés, comment la Le déjeuner sur l'herbe de la Contexte du Salon de 1863 est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Bois de Boulogne", "L'Œuvre", "Paris", "Émile Zola"]}
{"id": 247, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "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:Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre  .", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le déjeuner sur l'herbe dans la Contexte du Salon de 1863 de Salon des refusés.Veuillez sortir en anglais.", "section_entities": ["Bois de Boulogne", "L'Œuvre", "Paris", "Émile Zola"]}
{"id": 248, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "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  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 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 ndseer'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. 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 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.", "entry": "subsection", "prompt": "Dans le contexte de Salon des refusés, expliquez la Symphonie en blanc n°1 et la Contexte du Salon de 1863.Veuillez sortir en anglais.", "section_entities": ["Catherine Walters", "Charles Baudelaire", "Gustave Courbet", "Joanna Hiffernan", "Jules-Antoine Castagnary", "Napoleon III", "Paris", "Symphony in White, No. 1: The White Girl", "Théophile Thoré-Bürger", "Wilkie Collins"]}
{"id": 249, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "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  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 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 ndseer'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. 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 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.", "entry": "subsection", "prompt": "Expliquer la Symphonie en blanc n°1 concernant la Contexte du Salon de 1863 de cette œuvre d'art, Salon des refusés.Veuillez sortir en anglais.", "section_entities": ["Catherine Walters", "Charles Baudelaire", "Gustave Courbet", "Joanna Hiffernan", "Jules-Antoine Castagnary", "Napoleon III", "Paris", "Symphony in White, No. 1: The White Girl", "Théophile Thoré-Bürger", "Wilkie Collins"]}
{"id": 250, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "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  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 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 ndseer'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. 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 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.", "entry": "subsection", "prompt": "Dans Salon des refusés, comment la Symphonie en blanc n°1 de la Contexte du Salon de 1863 est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Catherine Walters", "Charles Baudelaire", "Gustave Courbet", "Joanna Hiffernan", "Jules-Antoine Castagnary", "Napoleon III", "Paris", "Symphony in White, No. 1: The White Girl", "Théophile Thoré-Bürger", "Wilkie Collins"]}
{"id": 251, "title": "Salon des refusés", "en_title": "Salon des Refusés", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/270px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg", "reference": "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  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 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 ndseer'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. 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 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.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Symphonie en blanc n°1 dans la Contexte du Salon de 1863 de Salon des refusés.Veuillez sortir en anglais.", "section_entities": ["Catherine Walters", "Charles Baudelaire", "Gustave Courbet", "Joanna Hiffernan", "Jules-Antoine Castagnary", "Napoleon III", "Paris", "Symphony in White, No. 1: The White Girl", "Théophile Thoré-Bürger", "Wilkie Collins"]}
{"id": 252, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.", "entry": "section", "prompt": "Concentrez-vous sur La Liberté guidant le peuple et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Eugène Delacroix", "France", "France", "French Revolution", "July Revolution", "Louvre", "Marianne", "Louvre", "Paris", "Phrygian cap"]}
{"id": 253, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.", "section_entities": ["Eugène Delacroix", "France", "France", "French Revolution", "July Revolution", "Louvre", "Marianne", "Louvre", "Paris", "Phrygian cap"]}
{"id": 254, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.", "entry": "section", "prompt": "Comment La Liberté guidant le peuple explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Eugène Delacroix", "France", "France", "French Revolution", "July Revolution", "Louvre", "Marianne", "Louvre", "Paris", "Phrygian cap"]}
{"id": 255, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "</ref>}}Liberty Leading the People  is a painting of the Romantic era by the French artist Eugène Delacroix,  commemorating the July Revolution of 1830 that toppled King Charles X. A bare-breasted woman of the people with a Phrygian cap personifying the concept and Goddess of Liberty leads a varied group of people forward over a barricade and the bodies of the fallen, holding aloft the flag of the French Revolution – the tricolour, which again became France's national flag after these events – in one hand and brandishing a bayonetted musket with the other. The figure of Liberty is also viewed as a symbol of France and the French Republic known as Marianne. The painting is sometimes wrongly thought to depict the French Revolution of 1789.Liberty Leading the People is exhibited in the Louvre in Paris.", "entry": "section", "prompt": "Dans La Liberté guidant le peuple, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Eugène Delacroix", "France", "France", "French Revolution", "July Revolution", "Louvre", "Marianne", "Louvre", "Paris", "Phrygian cap"]}
{"id": 256, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: \"My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her.\" The painting was first exhibited at the official Salon of 1831.", "entry": "section", "prompt": "Concentrez-vous sur La Liberté guidant le peuple et expliquez la Histoire.Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment"]}
{"id": 257, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: \"My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her.\" The painting was first exhibited at the official Salon of 1831.", "entry": "section", "prompt": "Expliquer la Histoire de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment"]}
{"id": 258, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: \"My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her.\" The painting was first exhibited at the official Salon of 1831.", "entry": "section", "prompt": "Comment La Liberté guidant le peuple explique-t-il sa Histoire?Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment"]}
{"id": 259, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "By the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix, who was born as the Age of Enlightenment was giving way to the ideas and style of romanticism, rejected the emphasis on precise drawing that characterised the academic art of his time, and instead gave a new prominence to freely brushed colour.Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 21 October, he wrote: \"My bad mood is vanishing thanks to hard work. I've embarked on a modern subject—a barricade. And if I haven't fought for my country at least I'll paint for her.\" The painting was first exhibited at the official Salon of 1831.", "entry": "section", "prompt": "Dans La Liberté guidant le peuple, comment est discutée la Histoire?Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment"]}
{"id": 260, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.", "entry": "section", "prompt": "Concentrez-vous sur La Liberté guidant le peuple et expliquez la Symbolisme.Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment", "French Revolution", "Frédéric Villot", "Louvre", "Louvre", "Paris", "Phrygian cap"]}
{"id": 261, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.", "entry": "section", "prompt": "Expliquer la Symbolisme de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment", "French Revolution", "Frédéric Villot", "Louvre", "Louvre", "Paris", "Phrygian cap"]}
{"id": 262, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.", "entry": "section", "prompt": "Comment La Liberté guidant le peuple explique-t-il sa Symbolisme?Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment", "French Revolution", "Frédéric Villot", "Louvre", "Louvre", "Paris", "Phrygian cap"]}
{"id": 263, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses and wreckage acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the Romantic era.The fighters are from a mixture of social classes, ranging from the bourgeoisie represented by the young man in a top hat, a student from the prestigious  wearing the traditional bicorne, to the revolutionary urban worker, as exemplified by the boy holding pistols. What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre-Dame.The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. In the late 19th century, it was suggested the model was the theatre director Étienne Arago; others have suggested the future curator of the Louvre, Frédéric Villot; but there is no firm consensus on this point.Several of the figures are probably borrowed from a print by popular artist Nicolas Charlet, a prolific illustrator who Delacroix believed captured, more than anyone else, the peculiar energy of the Parisians.", "entry": "section", "prompt": "Dans La Liberté guidant le peuple, comment est discutée la Symbolisme?Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment", "French Revolution", "Frédéric Villot", "Louvre", "Louvre", "Paris", "Phrygian cap"]}
{"id": 264, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the \"citizen-king\" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that \"at first glance, the inscription is superficial and should be easily removed\". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.", "entry": "section", "prompt": "Concentrez-vous sur La Liberté guidant le peuple et expliquez la achat, exposition.Veuillez sortir en anglais.", "section_entities": ["Airbus Beluga", "Albert Boime", "Bahrain", "Detroit", "Detroit Institute of Arts", "France", "France", "Grand Palais", "July Revolution", "June Rebellion", "Lens, Pas-de-Calais", "Louvre", "Louvre-Lens", "Metropolitan Museum of Art", "Louvre", "Paris", "Tokyo"]}
{"id": 265, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the \"citizen-king\" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that \"at first glance, the inscription is superficial and should be easily removed\". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.", "entry": "section", "prompt": "Expliquer la achat, exposition de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.", "section_entities": ["Airbus Beluga", "Albert Boime", "Bahrain", "Detroit", "Detroit Institute of Arts", "France", "France", "Grand Palais", "July Revolution", "June Rebellion", "Lens, Pas-de-Calais", "Louvre", "Louvre-Lens", "Metropolitan Museum of Art", "Louvre", "Paris", "Tokyo"]}
{"id": 266, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the \"citizen-king\" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that \"at first glance, the inscription is superficial and should be easily removed\". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.", "entry": "section", "prompt": "Comment La Liberté guidant le peuple explique-t-il sa achat, exposition?Veuillez sortir en anglais.", "section_entities": ["Airbus Beluga", "Albert Boime", "Bahrain", "Detroit", "Detroit Institute of Arts", "France", "France", "Grand Palais", "July Revolution", "June Rebellion", "Lens, Pas-de-Calais", "Louvre", "Louvre-Lens", "Metropolitan Museum of Art", "Louvre", "Paris", "Tokyo"]}
{"id": 267, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "The French government bought the painting in 1831 for 3,000 francs with the intention of displaying it in the throne room of the Palais du Luxembourg as a reminder to the \"citizen-king\" Louis-Philippe of the July Revolution, through which he had come to power. This plan did not come to fruition and the canvas hung in the palace's museum gallery for a few months, before being removed due to its inflammatory political message. After the June Rebellion of 1832, it was returned to the artist. According to Albert Boime, Delacroix was permitted to send the painting to his aunt Félicité for safekeeping. After the Second Republic was established following the revolution of 1848 it was exhibited briefly in that year, and then during the Second Empire in the Salon of 1855. The recently established Third Republic finally acquired the painting in 1874 for the collection of the Musée du Louvre in Paris.In 1974–75, the painting was the featured work in an exhibition organized by the French government, the Metropolitan Museum of Art in New York and the Detroit Institute of Arts as a Bicentennial gift to the people of the United States. The exhibition, entitled French Painting 1774–1830: The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France.  The exhibition was first shown at the Grand Palais from 16 November 1974 to 3 February 1975. It moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975.In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain and Calcutta in about 20 hours. The large canvas, measuring  high by  long, was too large to fit into a Boeing 747. It was transported in the vertical position inside a special pressurised container provided with isothermal protection and an anti-vibration device.In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, as the starring work in the first tranche of paintings from the Louvre's collection to be installed. On 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription  on the painting. The woman was immediately arrested by a security guard and a visitor. A short time after the incident, the management of the Louvre and its Pas-de-Calais branch published a press release indicating that \"at first glance, the inscription is superficial and should be easily removed\". Louvre officials announced the next day that the writing had been removed in less than two hours by a restorer without damaging the original paint, and the piece returned to display that morning.", "entry": "section", "prompt": "Dans La Liberté guidant le peuple, comment est discutée la achat, exposition?Veuillez sortir en anglais.", "section_entities": ["Airbus Beluga", "Albert Boime", "Bahrain", "Detroit", "Detroit Institute of Arts", "France", "France", "Grand Palais", "July Revolution", "June Rebellion", "Lens, Pas-de-Calais", "Louvre", "Louvre-Lens", "Metropolitan Museum of Art", "Louvre", "Paris", "Tokyo"]}
{"id": 268, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva  Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time  lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode  of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont  is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.", "entry": "section", "prompt": "Concentrez-vous sur La Liberté guidant le peuple et expliquez la Héritage.Veuillez sortir en anglais.", "section_entities": ["2018–2019 Gaza border protests", "Aed Abu Amro", "Ay mamá", "BBC", "BBC Radio 4", "Coldplay", "France", "France", "Frédéric Auguste Bartholdi", "Gavroche", "George Antheil", "Ghost in the Shell: SAC 2045", "June Rebellion", "Kathleen Ni Houlihan", "Les Misérables", "Louvre", "Marianne", "Melvyn Bragg", "Louvre", "Netflix", "New York City", "Phrygian cap", "Rigoberta Bandini", "Robert Ballagh", "Song Joong-ki", "Statue of Liberty"]}
{"id": 269, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva  Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time  lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode  of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont  is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.", "entry": "section", "prompt": "Expliquer la Héritage de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.", "section_entities": ["2018–2019 Gaza border protests", "Aed Abu Amro", "Ay mamá", "BBC", "BBC Radio 4", "Coldplay", "France", "France", "Frédéric Auguste Bartholdi", "Gavroche", "George Antheil", "Ghost in the Shell: SAC 2045", "June Rebellion", "Kathleen Ni Houlihan", "Les Misérables", "Louvre", "Marianne", "Melvyn Bragg", "Louvre", "Netflix", "New York City", "Phrygian cap", "Rigoberta Bandini", "Robert Ballagh", "Song Joong-ki", "Statue of Liberty"]}
{"id": 270, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva  Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time  lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode  of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont  is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.", "entry": "section", "prompt": "Comment La Liberté guidant le peuple explique-t-il sa Héritage?Veuillez sortir en anglais.", "section_entities": ["2018–2019 Gaza border protests", "Aed Abu Amro", "Ay mamá", "BBC", "BBC Radio 4", "Coldplay", "France", "France", "Frédéric Auguste Bartholdi", "Gavroche", "George Antheil", "Ghost in the Shell: SAC 2045", "June Rebellion", "Kathleen Ni Houlihan", "Les Misérables", "Louvre", "Marianne", "Melvyn Bragg", "Louvre", "Netflix", "New York City", "Phrygian cap", "Rigoberta Bandini", "Robert Ballagh", "Song Joong-ki", "Statue of Liberty"]}
{"id": 271, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Although Delacroix was not the first artist to depict Liberty in a Phrygian cap, his painting may be the best known early version of the figure commonly known as Marianne, a symbol of the French Republic and of France in general.The painting may have influenced Victor Hugo's 1862 novel Les Misérables. In particular, the character of Gavroche is widely believed to have been inspired by the figure of the pistols-wielding boy running over the barricade. The novel describes the events of the June Rebellion two years after the revolution celebrated in the painting, the same rebellion that led to its being removed from public view.The painting inspired Frédéric Auguste Bartholdi's Liberty Enlightening the World, known as the Statue of Liberty in New York City, which was given to the United States as a gift from the French a half-century after Liberty Leading the People was painted. The statue, which holds a torch in its hand, takes a more stable, immovable stance than that of the woman in the painting. An engraved version of part of the painting, along with a depiction of Delacroix, was featured on the 100 franc note from 1978 to 1995.The painting has had an influence on classical music. George Antheil titled his Symphony No. 6 After Delacroix, and stated that the work was inspired by Liberty Leading the People.  The imagery was adapted by Robert Ballagh to commemorate Ireland's independence struggle on an Irish postage stamp in 1979, the centenary of the birth of Pádraig Pearse, and the painting was used for the band Coldplay's 2008 album cover Viva la Vida or Death and All His Friends, with the words Viva  Vida written in white.  Rigoberta Bandini references the painting in the chorus of her 2021 song Ay mamá. The cover of the 2010 book Enough is Enough: How to Build a New Republic by Fintan O'Toole references the painting, but with Kathleen Ni Houlihan holding the Irish tricolour in Dublin while the leaders of the three main political parties at the time  lie on the ground.During the 20 October 2011 episode of the BBC Radio 4 series In Our Time, host Melvyn Bragg led a panel discussion of the painting.Liberty Leading the People made an appearance in the 11th episode  of the Netflix animation series Ghost in the Shell: SAC 2045.The painting was featured in Vincenzo, a 2021 South Korean TV series starring Song Joong-ki in episode 7. The series is also available on Netflix.A photograph of Aed Abu Amro taken during the 2018–2019 Gaza border protests by Mustafa Hassona on 22 October 2018, was considered by some a personification of the Liberty Leading the People.Libery Leading the People makes a prominent appearance in the 2023 film John Wick Chapter 4, starring Keanu Reeves. Near the end of the second act, main antagonist,  Marquis Vincent de Garmont  is seen standing before Liberty Leading the People inside the Louvre Museum, which was famously closed to the public for the filming of the scenes.", "entry": "section", "prompt": "Dans La Liberté guidant le peuple, comment est discutée la Héritage?Veuillez sortir en anglais.", "section_entities": ["2018–2019 Gaza border protests", "Aed Abu Amro", "Ay mamá", "BBC", "BBC Radio 4", "Coldplay", "France", "France", "Frédéric Auguste Bartholdi", "Gavroche", "George Antheil", "Ghost in the Shell: SAC 2045", "June Rebellion", "Kathleen Ni Houlihan", "Les Misérables", "Louvre", "Marianne", "Melvyn Bragg", "Louvre", "Netflix", "New York City", "Phrygian cap", "Rigoberta Bandini", "Robert Ballagh", "Song Joong-ki", "Statue of Liberty"]}
{"id": 272, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.", "entry": "section", "prompt": "Concentrez-vous sur La Liberté guidant le peuple et expliquez la Critique.Veuillez sortir en anglais.", "section_entities": []}
{"id": 273, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.", "entry": "section", "prompt": "Expliquer la Critique de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.", "section_entities": []}
{"id": 274, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.", "entry": "section", "prompt": "Comment La Liberté guidant le peuple explique-t-il sa Critique?Veuillez sortir en anglais.", "section_entities": []}
{"id": 275, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Liberty Leading the People is considered a republican and anti-monarchist symbol, and as such was sometimes criticized by royalists and monarchists.", "entry": "section", "prompt": "Dans La Liberté guidant le peuple, comment est discutée la Critique?Veuillez sortir en anglais.", "section_entities": []}
{"id": 276, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Liberté, égalité, fraternité Liberty  Marianne", "entry": "section", "prompt": "Concentrez-vous sur La Liberté guidant le peuple et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Liberté, égalité, fraternité", "Marianne"]}
{"id": 277, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Liberté, égalité, fraternité Liberty  Marianne", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.", "section_entities": ["Liberté, égalité, fraternité", "Marianne"]}
{"id": 278, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Liberté, égalité, fraternité Liberty  Marianne", "entry": "section", "prompt": "Comment La Liberté guidant le peuple explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Liberté, égalité, fraternité", "Marianne"]}
{"id": 279, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Liberté, égalité, fraternité Liberty  Marianne", "entry": "section", "prompt": "Dans La Liberté guidant le peuple, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Liberté, égalité, fraternité", "Marianne"]}
{"id": 280, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.", "entry": "section", "prompt": "Concentrez-vous sur La Liberté guidant le peuple et expliquez la Bibliographie.Veuillez sortir en anglais.", "section_entities": []}
{"id": 281, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.", "entry": "section", "prompt": "Expliquer la Bibliographie de cette œuvre d'art, La Liberté guidant le peuple.Veuillez sortir en anglais.", "section_entities": []}
{"id": 282, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.", "entry": "section", "prompt": "Comment La Liberté guidant le peuple explique-t-il sa Bibliographie?Veuillez sortir en anglais.", "section_entities": []}
{"id": 283, "title": "La Liberté guidant le peuple", "en_title": "Liberty Leading the People", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/02/La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg/300px-La_Libert%C3%A9_guidant_le_peuple_-_Eug%C3%A8ne_Delacroix_-_Mus%C3%A9e_du_Louvre_Peintures_RF_129_-_apr%C3%A8s_restauration_2024.jpg", "reference": "Pastore, Stephen R.  Zola and Delacroix: Genius Amidst the Turmoil. London: Oxford University Press.", "entry": "section", "prompt": "Dans La Liberté guidant le peuple, comment est discutée la Bibliographie?Veuillez sortir en anglais.", "section_entities": []}
{"id": 284, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered \"one of the finest examples of the Hellenistic baroque\" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.", "entry": "section", "prompt": "Concentrez-vous sur Groupe du Laocoon et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Christian art", "Passion of Jesus", "Pliny the Elder"]}
{"id": 285, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered \"one of the finest examples of the Hellenistic baroque\" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Christian art", "Passion of Jesus", "Pliny the Elder"]}
{"id": 286, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered \"one of the finest examples of the Hellenistic baroque\" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.", "entry": "section", "prompt": "Comment Groupe du Laocoon explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Christian art", "Passion of Jesus", "Pliny the Elder"]}
{"id": 287, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "}}The statue of ocoön and His Sons, also called the ocoön Group , has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one that was praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures in the statue are nearly life-sized, with the entire group measuring just over  in height. The sculpture depicts the Trojan priest ocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering shown in this statue offers no redemptive power or reward. The agony is conveyed through the contorted expressions on the faces, particularly ocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially ocoön's, with every part of his body shown straining.Pliny attributed the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros, and Polydorus, but he did not mention the date or patron. In style it is considered \"one of the finest examples of the Hellenistic baroque\" and certainly in the Greek tradition. However, its origin is uncertain, as it is not known if it is an original work or a copy of an earlier bronze sculpture. Some believe it to be a copy of a work from the early Imperial period, while others think it to be an original work from the later period, continuing the Pergamene style of some two centuries earlier. Regardless, it was probably commissioned for a wealthy Roman's home, possibly from the Imperial family. The dates suggested for the statue range from 200 BC to the 70s AD, with a Julio-Claudian date  now being the preferred option.Despite being in mostly excellent condition for an excavated sculpture, the group is missing several parts and underwent several ancient modifications, as well as restorations since its excavation. The statue is currently on display in the Museo Pio-Clementino, which is part of the Vatican Museums.", "entry": "section", "prompt": "Dans Groupe du Laocoon, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Christian art", "Passion of Jesus", "Pliny the Elder"]}
{"id": 288, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.", "entry": "section", "prompt": "Concentrez-vous sur Groupe du Laocoon et expliquez la sujet.Veuillez sortir en anglais.", "section_entities": ["Aeneid", "Apollo", "Epic Cycle", "Homer", "Pietro Aretino"]}
{"id": 289, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.", "entry": "section", "prompt": "Expliquer la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Aeneid", "Apollo", "Epic Cycle", "Homer", "Pietro Aretino"]}
{"id": 290, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.", "entry": "section", "prompt": "Comment Groupe du Laocoon explique-t-il sa sujet?Veuillez sortir en anglais.", "section_entities": ["Aeneid", "Apollo", "Epic Cycle", "Homer", "Pietro Aretino"]}
{"id": 291, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The story of ocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid , but this dates from between 29 and 19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil.In Virgil, ocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving ocoön himself alive to suffer.  In other versions he was killed for having had sex with his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: ocoön was either punished for doing wrong, or for being right. Pietro Aretino thought so, praising the group in 1537:In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility.", "entry": "section", "prompt": "Dans Groupe du Laocoon, comment est discutée la sujet?Veuillez sortir en anglais.", "section_entities": ["Aeneid", "Apollo", "Epic Cycle", "Homer", "Pietro Aretino"]}
{"id": 292, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The discovery of the ocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the ocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of ocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the ocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.", "entry": "section", "prompt": "Concentrez-vous sur Groupe du Laocoon et expliquez la Influence.Veuillez sortir en anglais.", "section_entities": ["Baccio Bandinelli", "Baroque", "Belvedere Torso", "Dying Slave", "Florence", "Homer", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II", "Pope Leo X"]}
{"id": 293, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The discovery of the ocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the ocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of ocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the ocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.", "entry": "section", "prompt": "Expliquer la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Baccio Bandinelli", "Baroque", "Belvedere Torso", "Dying Slave", "Florence", "Homer", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II", "Pope Leo X"]}
{"id": 294, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The discovery of the ocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the ocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of ocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the ocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.", "entry": "section", "prompt": "Comment Groupe du Laocoon explique-t-il sa Influence?Veuillez sortir en anglais.", "section_entities": ["Baccio Bandinelli", "Baroque", "Belvedere Torso", "Dying Slave", "Florence", "Homer", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II", "Pope Leo X"]}
{"id": 295, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The discovery of the ocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its depiction of the male figures. The influence of the ocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II.  Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures.  Raphael used the face of ocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain.The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which was often copied and distributed in small bronzes, is in the Uffizi Gallery, Florence, the Pope having decided it was too good to send to François I of France as originally intended. A bronze casting, made for François I at Fontainebleau from a mold taken from the original under the supervision of Primaticcio, is at the Musée du Louvre.  There are many copies of the statue, including a well-known one in the Grand Palace of the Knights of St. John in Rhodes. Many still show the arm in the outstretched position, but the copy in Rhodes has been corrected.The group was rapidly depicted in prints as well as small models, and became known all over Europe. Titian appears to have had access to a good cast or reproduction from about 1520, and echoes of the figures begin to appear in his works, two of them in the Averoldi Altarpiece of 1520–1522.  A woodcut, probably after a drawing by Titian, parodied the sculpture by portraying three apes instead of humans. It has often been interpreted as a satire on the clumsiness of Bandinelli's copy, or as a commentary on debates of the time around the similarities between human and ape anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the ocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in Antwerp Cathedral.The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816.", "entry": "section", "prompt": "Dans Groupe du Laocoon, comment est discutée la Influence?Veuillez sortir en anglais.", "section_entities": ["Baccio Bandinelli", "Baroque", "Belvedere Torso", "Dying Slave", "Florence", "Homer", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II", "Pope Leo X"]}
{"id": 296, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The location where the buried statue was found in 1506 was always known to be \"in the vineyard of Felice De Fredis\" on the Oppian Hill , as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond \"vague\" statements such as Sangallo's \"near Santa Maria Maggiore\"  or it being \"near the site of the Domus Aurea\" ; in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives , which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys,  in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.", "entry": "section", "prompt": "Concentrez-vous sur Groupe du Laocoon et expliquez la Lieu de découverte.Veuillez sortir en anglais.", "section_entities": ["Colosseum", "Domus Aurea", "Gardens of Maecenas", "Oppian Hill"]}
{"id": 297, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The location where the buried statue was found in 1506 was always known to be \"in the vineyard of Felice De Fredis\" on the Oppian Hill , as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond \"vague\" statements such as Sangallo's \"near Santa Maria Maggiore\"  or it being \"near the site of the Domus Aurea\" ; in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives , which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys,  in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.", "entry": "section", "prompt": "Expliquer la Lieu de découverte de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Colosseum", "Domus Aurea", "Gardens of Maecenas", "Oppian Hill"]}
{"id": 298, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The location where the buried statue was found in 1506 was always known to be \"in the vineyard of Felice De Fredis\" on the Oppian Hill , as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond \"vague\" statements such as Sangallo's \"near Santa Maria Maggiore\"  or it being \"near the site of the Domus Aurea\" ; in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives , which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys,  in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.", "entry": "section", "prompt": "Comment Groupe du Laocoon explique-t-il sa Lieu de découverte?Veuillez sortir en anglais.", "section_entities": ["Colosseum", "Domus Aurea", "Gardens of Maecenas", "Oppian Hill"]}
{"id": 299, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The location where the buried statue was found in 1506 was always known to be \"in the vineyard of Felice De Fredis\" on the Oppian Hill , as noted in the document recording the sale of the group to the Pope.  But over time, knowledge of the site's precise location was lost, beyond \"vague\" statements such as Sangallo's \"near Santa Maria Maggiore\"  or it being \"near the site of the Domus Aurea\" ; in modern terms near the Colosseum.  An inscribed plaque of 1529 in the church of Santa Maria in Aracoeli records the burial of De Fredis and his son there, covering his finding of the group but giving no occupation. Research published in 2010 has recovered two documents in the municipal archives , which have established a much more precise location for the find: slightly to the east of the southern end of the Sette Sale, the ruined cistern for the successive imperial baths at the base of the hill by the Colosseum.The first document records De Fredis' purchase of a vineyard of about 1.5 hectares from a convent for 135 ducats on 14 November 1504, exactly 14 months before the finding of the statue.  The second document, from 1527, makes it clear that there is now a house on the property, and clarifies the location; by then De Fredis was dead and his widow rented out the house. The house appears on a map of 1748, and still survives as a substantial building of three storeys,  in the courtyard of a convent.  The area remained mainly agricultural until the 19th century, but is now entirely built up. It is speculated that De Fredis began building the house soon after his purchase, and as the group was reported to have been found some four metres below ground, at a depth unlikely to be reached by normal vineyard-digging operations, it seems likely that it was discovered when digging the foundations for the house, or possibly a well for it. but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate.  If the ocoön group was already in the location of the later findspot by the time Pliny saw it, it might have arrived there under Maecenas or any of the emperors.", "entry": "section", "prompt": "Dans Groupe du Laocoon, comment est discutée la Lieu de découverte?Veuillez sortir en anglais.", "section_entities": ["Colosseum", "Domus Aurea", "Gardens of Maecenas", "Oppian Hill"]}
{"id": 300, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, \"Arms and the Man: The restoration and reinvention of classical sculpture\", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  \"Chronology\": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp.&nbsp;243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp.&nbsp;275–277,  Howard, Seymour, \"ocoon Rerestored\", American Journal of Archaeology, Vol. 93, No. 3 , pp.&nbsp;417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, \"okoon\", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., \"Prosopographika Rhodiaka\", The Annual of the British School at Athens, Vol. 81, , pp.&nbsp;209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., \"To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table\", The Journal of Roman Studies, Vol. 67, , pp.&nbsp;76–90,  \"Volpe and Parisi\": Digital Sculpture Project: ocoon.  Warden, P. Gregory, \"The Domus Aurea Reconsidered\", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp.&nbsp;271–278, ,", "entry": "section", "prompt": "Concentrez-vous sur Groupe du Laocoon et expliquez la Références.Veuillez sortir en anglais.", "section_entities": ["Domus Aurea", "Oxford University Press", "Pergamon"]}
{"id": 301, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, \"Arms and the Man: The restoration and reinvention of classical sculpture\", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  \"Chronology\": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp.&nbsp;243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp.&nbsp;275–277,  Howard, Seymour, \"ocoon Rerestored\", American Journal of Archaeology, Vol. 93, No. 3 , pp.&nbsp;417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, \"okoon\", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., \"Prosopographika Rhodiaka\", The Annual of the British School at Athens, Vol. 81, , pp.&nbsp;209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., \"To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table\", The Journal of Roman Studies, Vol. 67, , pp.&nbsp;76–90,  \"Volpe and Parisi\": Digital Sculpture Project: ocoon.  Warden, P. Gregory, \"The Domus Aurea Reconsidered\", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp.&nbsp;271–278, ,", "entry": "section", "prompt": "Expliquer la Références de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Domus Aurea", "Oxford University Press", "Pergamon"]}
{"id": 302, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, \"Arms and the Man: The restoration and reinvention of classical sculpture\", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  \"Chronology\": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp.&nbsp;243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp.&nbsp;275–277,  Howard, Seymour, \"ocoon Rerestored\", American Journal of Archaeology, Vol. 93, No. 3 , pp.&nbsp;417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, \"okoon\", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., \"Prosopographika Rhodiaka\", The Annual of the British School at Athens, Vol. 81, , pp.&nbsp;209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., \"To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table\", The Journal of Roman Studies, Vol. 67, , pp.&nbsp;76–90,  \"Volpe and Parisi\": Digital Sculpture Project: ocoon.  Warden, P. Gregory, \"The Domus Aurea Reconsidered\", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp.&nbsp;271–278, ,", "entry": "section", "prompt": "Comment Groupe du Laocoon explique-t-il sa Références?Veuillez sortir en anglais.", "section_entities": ["Domus Aurea", "Oxford University Press", "Pergamon"]}
{"id": 303, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Andreae, Bernard, okoon und die Gründung Roms, 1988, Philipp von Zabern,  Andreae, Bernard, okoon und die Kunst von Pergamon. Die Hybris der Giganten, 1991, Frankfurt am Main,  Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press,  Beard, Mary, Times Literary Supplement, \"Arms and the Man: The restoration and reinvention of classical sculpture\", 2 February 2001,  Boardman, John , The Oxford History of Classical Art, 1993, Oxford University Press,  \"Chronology\": Frischer, Bernard, Digital Sculpture Project: ocoon,  Clark, Kenneth, The Nude, A Study in Ideal Form, orig. 1949, various editions, page refs from Pelican edition of 1960. Cook, R.M., Greek Art, Penguin, 1986 ,  Farinella, Vincenzo, Vatican Museums, Classical Art, 1985, Scala Haskell, Francis, and Penny, Nicholas, 1981. Taste and the Antique: The Lure of Classical Sculpture 1500–1900 , cat. no. 52, pp.&nbsp;243–47 Herrmann, Ariel, review of Sperlonga und Vergil by Roland Hampe, The Art Bulletin, Vol. 56, No. 2, Medieval Issue , pp.&nbsp;275–277,  Howard, Seymour, \"ocoon Rerestored\", American Journal of Archaeology, Vol. 93, No. 3 , pp.&nbsp;417–422,  Isager, Jacob, Pliny on Art and Society: The Elder Pliny's Chapters On The History Of Art, 2013, Routledge, ,  Muth, Susanne, \"okoon\", in: Giuliani, Luca , Meisterwerke der antiken Kunst, 2005, C. H. Beck, , pp. 72–93. Rice, E. E., \"Prosopographika Rhodiaka\", The Annual of the British School at Athens, Vol. 81, , pp.&nbsp;209–250,  Schmälzle, Christoph, okoon in der Frühen Neuzeit, 2 vols., Stroemfeld, 2018,  Spivey, Nigel ,  Smith, R.R.R., Hellenistic Sculpture, a handbook, Thames & Hudson, 1991,  Stewart, A., \"To Entertain an Emperor: Sperlonga, okoon and Tiberius at the Dinner-Table\", The Journal of Roman Studies, Vol. 67, , pp.&nbsp;76–90,  \"Volpe and Parisi\": Digital Sculpture Project: ocoon.  Warden, P. Gregory, \"The Domus Aurea Reconsidered\", Journal of the Society of Architectural Historians, Vol. 40, No. 4 , pp.&nbsp;271–278, ,", "entry": "section", "prompt": "Dans Groupe du Laocoon, comment est discutée la Références?Veuillez sortir en anglais.", "section_entities": ["Domus Aurea", "Oxford University Press", "Pergamon"]}
{"id": 304, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The style of the work is agreed to be that of the Hellenistic \"Pergamene baroque\" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is \"looser and wilder in its principles\" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.", "entry": "subsection", "prompt": "Dans le contexte de Groupe du Laocoon, expliquez la Temps anciens et la sujet.Veuillez sortir en anglais.", "section_entities": ["Alcyoneus", "Pergamon", "Pergamon Altar"]}
{"id": 305, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The style of the work is agreed to be that of the Hellenistic \"Pergamene baroque\" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is \"looser and wilder in its principles\" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.", "entry": "subsection", "prompt": "Expliquer la Temps anciens concernant la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Alcyoneus", "Pergamon", "Pergamon Altar"]}
{"id": 306, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The style of the work is agreed to be that of the Hellenistic \"Pergamene baroque\" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is \"looser and wilder in its principles\" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.", "entry": "subsection", "prompt": "Dans Groupe du Laocoon, comment la Temps anciens de la sujet est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Alcyoneus", "Pergamon", "Pergamon Altar"]}
{"id": 307, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The style of the work is agreed to be that of the Hellenistic \"Pergamene baroque\" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is \"looser and wilder in its principles\" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Temps anciens dans la sujet de Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Alcyoneus", "Pergamon", "Pergamon Altar"]}
{"id": 308, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.", "entry": "subsection", "prompt": "Dans le contexte de Groupe du Laocoon, expliquez la Renaissance et la sujet.Veuillez sortir en anglais.", "section_entities": ["Battle of Waterloo", "Francesco da Sangallo", "François Girardon", "Giuliano da Sangallo", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II"]}
{"id": 309, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.", "entry": "subsection", "prompt": "Expliquer la Renaissance concernant la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Battle of Waterloo", "Francesco da Sangallo", "François Girardon", "Giuliano da Sangallo", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II"]}
{"id": 310, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.", "entry": "subsection", "prompt": "Dans Groupe du Laocoon, comment la Renaissance de la sujet est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Battle of Waterloo", "Francesco da Sangallo", "François Girardon", "Giuliano da Sangallo", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II"]}
{"id": 311, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Renaissance dans la sujet de Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Battle of Waterloo", "Francesco da Sangallo", "François Girardon", "Giuliano da Sangallo", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II"]}
{"id": 312, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: \"Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other.\"In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures \"show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations\".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.", "entry": "subsection", "prompt": "Dans le contexte de Groupe du Laocoon, expliquez la Restaurations et la sujet.Veuillez sortir en anglais.", "section_entities": ["Agostino Cornacchini", "Antonio Canova", "Jacopo Sansovino", "Ludwig Pollak", "Michelangelo"]}
{"id": 313, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: \"Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other.\"In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures \"show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations\".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.", "entry": "subsection", "prompt": "Expliquer la Restaurations concernant la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Agostino Cornacchini", "Antonio Canova", "Jacopo Sansovino", "Ludwig Pollak", "Michelangelo"]}
{"id": 314, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: \"Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other.\"In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures \"show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations\".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.", "entry": "subsection", "prompt": "Dans Groupe du Laocoon, comment la Restaurations de la sujet est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Agostino Cornacchini", "Antonio Canova", "Jacopo Sansovino", "Ludwig Pollak", "Michelangelo"]}
{"id": 315, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: \"Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other.\"In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures \"show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations\".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Restaurations dans la sujet de Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Agostino Cornacchini", "Antonio Canova", "Jacopo Sansovino", "Ludwig Pollak", "Michelangelo"]}
{"id": 316, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Pliny's description of ocoön as \"a work to be preferred to all that the arts of painting and sculpture have produced\" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon \"A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as \"Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium\". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes \"making a perfect ocoön of himself with his stockings\" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its \"disgusting convulsions\" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the \"meagre lines and contemptible tortures of the ocoon\" and the \"awfulness and quietness\" of Michelangelo, saying \"the slaughter of the Dardan priest\" was \"entirely wanting\" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.", "entry": "subsection", "prompt": "Dans le contexte de Groupe du Laocoon, expliquez la Laocoön comme idéal de l'art et la sujet.Veuillez sortir en anglais.", "section_entities": ["A Christmas Carol", "Book of Numbers", "Charles Dickens", "Classical sculpture", "Gotthold Ephraim Lessing", "Horatio Greenough", "Johann Joachim Winckelmann", "John Ruskin", "Michelangelo"]}
{"id": 317, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Pliny's description of ocoön as \"a work to be preferred to all that the arts of painting and sculpture have produced\" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon \"A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as \"Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium\". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes \"making a perfect ocoön of himself with his stockings\" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its \"disgusting convulsions\" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the \"meagre lines and contemptible tortures of the ocoon\" and the \"awfulness and quietness\" of Michelangelo, saying \"the slaughter of the Dardan priest\" was \"entirely wanting\" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.", "entry": "subsection", "prompt": "Expliquer la Laocoön comme idéal de l'art concernant la sujet de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["A Christmas Carol", "Book of Numbers", "Charles Dickens", "Classical sculpture", "Gotthold Ephraim Lessing", "Horatio Greenough", "Johann Joachim Winckelmann", "John Ruskin", "Michelangelo"]}
{"id": 318, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Pliny's description of ocoön as \"a work to be preferred to all that the arts of painting and sculpture have produced\" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon \"A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as \"Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium\". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes \"making a perfect ocoön of himself with his stockings\" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its \"disgusting convulsions\" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the \"meagre lines and contemptible tortures of the ocoon\" and the \"awfulness and quietness\" of Michelangelo, saying \"the slaughter of the Dardan priest\" was \"entirely wanting\" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.", "entry": "subsection", "prompt": "Dans Groupe du Laocoon, comment la Laocoön comme idéal de l'art de la sujet est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["A Christmas Carol", "Book of Numbers", "Charles Dickens", "Classical sculpture", "Gotthold Ephraim Lessing", "Horatio Greenough", "Johann Joachim Winckelmann", "John Ruskin", "Michelangelo"]}
{"id": 319, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Pliny's description of ocoön as \"a work to be preferred to all that the arts of painting and sculpture have produced\" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon \"A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as \"Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium\". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes \"making a perfect ocoön of himself with his stockings\" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its \"disgusting convulsions\" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the \"meagre lines and contemptible tortures of the ocoon\" and the \"awfulness and quietness\" of Michelangelo, saying \"the slaughter of the Dardan priest\" was \"entirely wanting\" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Laocoön comme idéal de l'art dans la sujet de Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["A Christmas Carol", "Book of Numbers", "Charles Dickens", "Classical sculpture", "Gotthold Ephraim Lessing", "Horatio Greenough", "Johann Joachim Winckelmann", "John Ruskin", "Michelangelo"]}
{"id": 320, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsubsection", "prompt": "En vous concentrant sur la sujet de Groupe du Laocoon, expliquez la Pline concernant la sujet.Veuillez sortir en anglais.", "section_entities": ["Lindos", "Nigel Spivey", "Pergamon"]}
{"id": 321, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsubsection", "prompt": "Expliquer la Pline concernant la sujet de la sujet dans cette œuvre, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Lindos", "Nigel Spivey", "Pergamon"]}
{"id": 322, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsubsection", "prompt": "Concernant Groupe du Laocoon, comment la sujet de la sujet intègre-t-elle la Pline?Veuillez sortir en anglais.", "section_entities": ["Lindos", "Nigel Spivey", "Pergamon"]}
{"id": 323, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsubsection", "prompt": "En examinant la sujet de Groupe du Laocoon, comment discutez-vous la Pline de la sujet?Veuillez sortir en anglais.", "section_entities": ["Lindos", "Nigel Spivey", "Pergamon"]}
{"id": 324, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The style of the work is agreed to be that of the Hellenistic \"Pergamene baroque\" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is \"looser and wilder in its principles\" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.", "entry": "subsection", "prompt": "Dans le contexte de Groupe du Laocoon, expliquez la Temps anciens et la Influence.Veuillez sortir en anglais.", "section_entities": ["Alcyoneus", "Pergamon", "Pergamon Altar"]}
{"id": 325, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The style of the work is agreed to be that of the Hellenistic \"Pergamene baroque\" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is \"looser and wilder in its principles\" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.", "entry": "subsection", "prompt": "Expliquer la Temps anciens concernant la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Alcyoneus", "Pergamon", "Pergamon Altar"]}
{"id": 326, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The style of the work is agreed to be that of the Hellenistic \"Pergamene baroque\" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is \"looser and wilder in its principles\" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.", "entry": "subsection", "prompt": "Dans Groupe du Laocoon, comment la Temps anciens de la Influence est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Alcyoneus", "Pergamon", "Pergamon Altar"]}
{"id": 327, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The style of the work is agreed to be that of the Hellenistic \"Pergamene baroque\" which arose in Greek Asia Minor around 200 BC, and whose best known undoubtedly original work is the Pergamon Altar, dated –160 BC, and now in Berlin.  Here the figure of Alcyoneus is shown in a pose and situation  which is very similar to those of ocoön, though the style is \"looser and wilder in its principles\" than the altar.The execution of the ocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times.  The two sons are rather small in scale compared to their father, but this adds to the impact of the central figure.  The fine white marble used is often thought to be Greek, but has not been identified by analysis.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Temps anciens dans la Influence de Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Alcyoneus", "Pergamon", "Pergamon Altar"]}
{"id": 328, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.", "entry": "subsection", "prompt": "Dans le contexte de Groupe du Laocoon, expliquez la Renaissance et la Influence.Veuillez sortir en anglais.", "section_entities": ["Battle of Waterloo", "Francesco da Sangallo", "François Girardon", "Giuliano da Sangallo", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II"]}
{"id": 329, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.", "entry": "subsection", "prompt": "Expliquer la Renaissance concernant la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Battle of Waterloo", "Francesco da Sangallo", "François Girardon", "Giuliano da Sangallo", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II"]}
{"id": 330, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.", "entry": "subsection", "prompt": "Dans Groupe du Laocoon, comment la Renaissance de la Influence est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Battle of Waterloo", "Francesco da Sangallo", "François Girardon", "Giuliano da Sangallo", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II"]}
{"id": 331, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II, an enthusiastic classicist, sent for his court artists.  Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later:Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome.  By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the time the older son appears to have been completely detached from the rest of the group.In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800.  A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead.  After Napoleon's final defeat at the Battle of Waterloo in 1815 most  of the artworks plundered by the French were returned, and the ocoön reached Rome in January 1816.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Renaissance dans la Influence de Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Battle of Waterloo", "Francesco da Sangallo", "François Girardon", "Giuliano da Sangallo", "Louvre", "Michelangelo", "Louvre", "Napoleon", "Pope Julius II"]}
{"id": 332, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: \"Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other.\"In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures \"show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations\".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.", "entry": "subsection", "prompt": "Dans le contexte de Groupe du Laocoon, expliquez la Restaurations et la Influence.Veuillez sortir en anglais.", "section_entities": ["Agostino Cornacchini", "Antonio Canova", "Jacopo Sansovino", "Ludwig Pollak", "Michelangelo"]}
{"id": 333, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: \"Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other.\"In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures \"show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations\".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.", "entry": "subsection", "prompt": "Expliquer la Restaurations concernant la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Agostino Cornacchini", "Antonio Canova", "Jacopo Sansovino", "Ludwig Pollak", "Michelangelo"]}
{"id": 334, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: \"Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other.\"In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures \"show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations\".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.", "entry": "subsection", "prompt": "Dans Groupe du Laocoon, comment la Restaurations de la Influence est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Agostino Cornacchini", "Antonio Canova", "Jacopo Sansovino", "Ludwig Pollak", "Michelangelo"]}
{"id": 335, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "When the statue was discovered, ocoön's right arm was missing, along with part of the hand of one son and the right arm of the other, and various sections of the snake. The older son, on the right, was detached from the other two figures.  The age of the altar used as a seat by ocoön remains uncertain.  Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture.According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of ocoön's outstretched arm, which remained in place until modern times.  In 1725–1727 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy.In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the ocoön group he presented it to the Vatican Museums: it remained in their storerooms for half a century. In 1957 the museum decided that this armbent, as Michelangelo had suggestedhad originally belonged to this ocoön, and replaced it. According to Paolo Liverani: \"Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other.\"In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated.  The restored portions of the sons' arms and hands were removed. In the course of disassembly, it was possible to observe breaks, cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures \"show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations\".  The findings Seymour Howard documented do not change his belief about the organization of the original. But dating the reworked coil ends by measuring the depth of the surface crust and comparing the metal dowels in the original and reworked portions allows one to determine the provenance of the parts and the sequence of the repairs.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Restaurations dans la Influence de Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Agostino Cornacchini", "Antonio Canova", "Jacopo Sansovino", "Ludwig Pollak", "Michelangelo"]}
{"id": 336, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Pliny's description of ocoön as \"a work to be preferred to all that the arts of painting and sculpture have produced\" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon \"A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as \"Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium\". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes \"making a perfect ocoön of himself with his stockings\" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its \"disgusting convulsions\" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the \"meagre lines and contemptible tortures of the ocoon\" and the \"awfulness and quietness\" of Michelangelo, saying \"the slaughter of the Dardan priest\" was \"entirely wanting\" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.", "entry": "subsection", "prompt": "Dans le contexte de Groupe du Laocoon, expliquez la Laocoön comme idéal de l'art et la Influence.Veuillez sortir en anglais.", "section_entities": ["A Christmas Carol", "Book of Numbers", "Charles Dickens", "Classical sculpture", "Gotthold Ephraim Lessing", "Horatio Greenough", "Johann Joachim Winckelmann", "John Ruskin", "Michelangelo"]}
{"id": 337, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Pliny's description of ocoön as \"a work to be preferred to all that the arts of painting and sculpture have produced\" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon \"A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as \"Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium\". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes \"making a perfect ocoön of himself with his stockings\" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its \"disgusting convulsions\" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the \"meagre lines and contemptible tortures of the ocoon\" and the \"awfulness and quietness\" of Michelangelo, saying \"the slaughter of the Dardan priest\" was \"entirely wanting\" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.", "entry": "subsection", "prompt": "Expliquer la Laocoön comme idéal de l'art concernant la Influence de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["A Christmas Carol", "Book of Numbers", "Charles Dickens", "Classical sculpture", "Gotthold Ephraim Lessing", "Horatio Greenough", "Johann Joachim Winckelmann", "John Ruskin", "Michelangelo"]}
{"id": 338, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Pliny's description of ocoön as \"a work to be preferred to all that the arts of painting and sculpture have produced\" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon \"A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as \"Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium\". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes \"making a perfect ocoön of himself with his stockings\" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its \"disgusting convulsions\" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the \"meagre lines and contemptible tortures of the ocoon\" and the \"awfulness and quietness\" of Michelangelo, saying \"the slaughter of the Dardan priest\" was \"entirely wanting\" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.", "entry": "subsection", "prompt": "Dans Groupe du Laocoon, comment la Laocoön comme idéal de l'art de la Influence est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["A Christmas Carol", "Book of Numbers", "Charles Dickens", "Classical sculpture", "Gotthold Ephraim Lessing", "Horatio Greenough", "Johann Joachim Winckelmann", "John Ruskin", "Michelangelo"]}
{"id": 339, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "Pliny's description of ocoön as \"a work to be preferred to all that the arts of painting and sculpture have produced\" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winckelmann  wrote about the paradox of admiring beauty while seeing a scene of death and failure.  The most influential contribution to the debate, Gotthold Ephraim Lessing's essay ocoon: An Essay on the Limits of Painting and Poetry, examines the differences between visual and literary art by comparing the sculpture with Virgil's verse. He argues that the artists could not realistically depict the physical suffering of the victims, as this would be too painful. Instead, they had to express suffering while retaining beauty.Johann Goethe said the following in his essay, Upon the ocoon \"A true work of art, like a work of nature, never ceases to open boundlessly before the mind. We examine,we are impressed with it,it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words.The most unusual intervention in the debate, William Blake's annotated print ocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as \"Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by three Rhodians & applied to Natural Fact or History of Ilium\". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art.The central figure of ocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue , which stood before the east façade of the United States Capitol for over 100 years.Near the end of Charles Dickens' 1843 novella, A Christmas Carol, Ebenezer Scrooge self-describes \"making a perfect ocoön of himself with his stockings\" in his hurry to dress on Christmas morning.John Ruskin disliked the sculpture and compared its \"disgusting convulsions\" unfavourably with work by Michelangelo, whose fresco of The Brazen Serpent, on a corner pendentive of the Sistine Chapel, also involves figures struggling with snakesthe fiery serpents of the Book of Numbers. He invited contrast between the \"meagre lines and contemptible tortures of the ocoon\" and the \"awfulness and quietness\" of Michelangelo, saying \"the slaughter of the Dardan priest\" was \"entirely wanting\" in sublimity. at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Laocoön comme idéal de l'art dans la Influence de Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["A Christmas Carol", "Book of Numbers", "Charles Dickens", "Classical sculpture", "Gotthold Ephraim Lessing", "Horatio Greenough", "Johann Joachim Winckelmann", "John Ruskin", "Michelangelo"]}
{"id": 340, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsubsection", "prompt": "En vous concentrant sur la Influence de Groupe du Laocoon, expliquez la Pline concernant la sujet.Veuillez sortir en anglais.", "section_entities": ["Lindos", "Nigel Spivey", "Pergamon"]}
{"id": 341, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsubsection", "prompt": "Expliquer la Pline concernant la sujet de la Influence dans cette œuvre, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": ["Lindos", "Nigel Spivey", "Pergamon"]}
{"id": 342, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsubsection", "prompt": "Concernant Groupe du Laocoon, comment la sujet de la Influence intègre-t-elle la Pline?Veuillez sortir en anglais.", "section_entities": ["Lindos", "Nigel Spivey", "Pergamon"]}
{"id": 343, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsubsection", "prompt": "En examinant la Influence de Groupe du Laocoon, comment discutez-vous la Pline de la sujet?Veuillez sortir en anglais.", "section_entities": ["Lindos", "Nigel Spivey", "Pergamon"]}
{"id": 344, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsection", "prompt": "Dans le contexte de Groupe du Laocoon, expliquez la Pline et la Temps anciens.Veuillez sortir en anglais.", "section_entities": []}
{"id": 345, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsection", "prompt": "Expliquer la Pline concernant la Temps anciens de cette œuvre d'art, Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": []}
{"id": 346, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsection", "prompt": "Dans Groupe du Laocoon, comment la Pline de la Temps anciens est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 347, "title": "Groupe du Laocoon", "en_title": "Laocoön and His Sons", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Laoco%C3%B6n_and_his_sons_group.jpg/270px-Laoco%C3%B6n_and_his_sons_group.jpg", "reference": "In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History , he says:It is generally accepted that this is the same work as is now in the Vatican.  It is now very often thought that the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests \"he regards it as an original\".  Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 . He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces.  The phrase translated above as \"in concert\"  is regarded by some as referring to their commission rather than the artists' method of working, giving in Nigel Spivey's translation: \"[the artists] at the behest of council designed a group...\", which Spivey takes to mean that the commission was by Titus, possibly even advised by Pliny among other savants.The same three artists' names, though in a different order , with the names of their fathers, are inscribed on one of the sculptures at Tiberius's villa at Sperlonga , but it seems likely that not all the three masters were the same individuals.  Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the ocoon group of much higher quality and finish.Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the ocoön group's creation.  Altogether eight \"signatures\"  of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander.  The whole question remains the subject of academic debate.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Pline dans la Temps anciens de Groupe du Laocoon.Veuillez sortir en anglais.", "section_entities": []}
{"id": 348, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.", "entry": "section", "prompt": "Concentrez-vous sur horloge astronomique de Prague et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Czech Republic", "Prague"]}
{"id": 349, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Czech Republic", "Prague"]}
{"id": 350, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.", "entry": "section", "prompt": "Comment horloge astronomique de Prague explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Czech Republic", "Prague"]}
{"id": 351, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "--> completion_date     =  catalogue           =  medium              =  movement            =  subject             =  height_metric       =  width_metric        =  length_metric       =  diameter_metric     =  height_imperial     =  width_imperial      =  length_imperial     =  diameter_imperial   =  dimensions          =  dimensions_ref      =  metric_unit         = cm   imperial_unit       = in   weight              =  designation         =  condition           =  museum              =  city                = Prague 1, Czech Republic coordinates         =  pushpin_map         = Czech Republic Prague Central pushpin_map_caption = Location in Prague owner               =  accession           =  preceded_by         =  followed_by         =  module              =  website             =  }}The Prague astronomical clock or Prague Orloj  is a medieval astronomical clock attached to the Old Town Hall in Prague, the capital of the Czech Republic.The clock was first installed in 1410, making it the third-oldest astronomical clock in the world and the oldest clock still in operation.", "entry": "section", "prompt": "Dans horloge astronomique de Prague, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Czech Republic", "Prague"]}
{"id": 352, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components&nbsp;– the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; \"The Walk of the Apostles\", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.", "entry": "section", "prompt": "Concentrez-vous sur horloge astronomique de Prague et expliquez la Description.Veuillez sortir en anglais.", "section_entities": ["Moon", "Old Town Square", "Sun"]}
{"id": 353, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components&nbsp;– the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; \"The Walk of the Apostles\", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.", "entry": "section", "prompt": "Expliquer la Description de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Moon", "Old Town Square", "Sun"]}
{"id": 354, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components&nbsp;– the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; \"The Walk of the Apostles\", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.", "entry": "section", "prompt": "Comment horloge astronomique de Prague explique-t-il sa Description?Veuillez sortir en anglais.", "section_entities": ["Moon", "Old Town Square", "Sun"]}
{"id": 355, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj is mounted on the southern wall of Old Town Hall in the Old Town Square. The clock mechanism has three main components&nbsp;– the astronomical dial, representing the position of the Sun and Moon in the sky and displaying various astronomical details; statues of various Catholic saints stand on either side of the clock; \"The Walk of the Apostles\", an hourly show of moving Apostle figures and other sculptures, notably a figure of a skeleton that represents Death, striking the time; and a calendar dial with medallions representing the months. According to local legend, the city will suffer if the clock is neglected and its good operation is placed in jeopardy; a ghost, mounted on the clock, was supposed to nod its head in confirmation. According to the legend, the only hope was represented by a boy born on New Year's night.", "entry": "section", "prompt": "Dans horloge astronomique de Prague, comment est discutée la Description?Veuillez sortir en anglais.", "section_entities": ["Moon", "Old Town Square", "Sun"]}
{"id": 356, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story&nbsp;– The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.", "entry": "section", "prompt": "Concentrez-vous sur horloge astronomique de Prague et expliquez la Histoire.Veuillez sortir en anglais.", "section_entities": ["Alois Jirásek", "Charles University", "Jan Šindel", "Josef Mánes", "Mikuláš of Kadaň", "Old Town Square", "Prague", "Prague uprising", "Vojtěch Sucharda"]}
{"id": 357, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story&nbsp;– The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.", "entry": "section", "prompt": "Expliquer la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Alois Jirásek", "Charles University", "Jan Šindel", "Josef Mánes", "Mikuláš of Kadaň", "Old Town Square", "Prague", "Prague uprising", "Vojtěch Sucharda"]}
{"id": 358, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story&nbsp;– The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.", "entry": "section", "prompt": "Comment horloge astronomique de Prague explique-t-il sa Histoire?Veuillez sortir en anglais.", "section_entities": ["Alois Jirásek", "Charles University", "Jan Šindel", "Josef Mánes", "Mikuláš of Kadaň", "Old Town Square", "Prague", "Prague uprising", "Vojtěch Sucharda"]}
{"id": 359, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The oldest part of the Orloj, the mechanical clock and astronomical dial, dates back to 1410, when it was created by clockmaker Mikuláš of Kadaň and Charles University professor of mathematics and astronomy Jan Šindel. The first recorded mention of the clock was on 9 October 1410. ter, presumably around 1490, the calendar dial was added and the clock facade was decorated with gothic sculptures.Formerly, it was believed that the Orloj was constructed in 1490 by clockmaster Jan Růže ; this is now known to be a historical mistake. A legend, recounted by Alois Jirásek, has it that the clockmaker Hanuš was blinded on the order of the Prague Councillors so that he could not repeat his work; in turn, he disabled the clock, and no one was able to repair it for the next hundred years.In 1552 it was repaired by Jan Táborský , master clockmaker of Klokotská Hora, who also wrote a report of the clock where he mentioned Hanuš as the maker of this clock. This mistake, corrected by Zdeněk Horský, was due to an incorrect interpretation of records from the period. The mistaken assumption that Hanuš was the maker is probably connected with his reconstruction of the Old Town Hall in the years 1470–1473. The clock stopped working many times in the centuries after 1552, and was repaired many times. The legend was used as the main plot in the 2008 animated film Goat story&nbsp;– The Old Prague Legends.In 1629 or 1659 wooden statues were added, and figures of the Apostles were added after a major repair in 1787–1791. During the next major repair in the years 1865–1866 the golden figure of a crowing rooster was added.The Orloj suffered heavy damage on 7 and especially 8 May 1945, during the Prague uprising, when the Nazis fired on the south-west side of the Old Town Square from several armoured vehicles in an unsuccessful attempt to destroy one of the centers of the uprising. The hall and nearby buildings burned, along with the wooden sculptures on the clock and the calendar dial face made by Josef Mánes. After significant effort, the machinery was repaired, the wooden Apostles restored by Vojtěch Sucharda, and the Orloj started working again in 1948.The Orloj was renovated in autumn 2005, when the statues and the lower calendar ring were restored. The wooden statues were covered with a net to keep pigeons away.The last renovation of the astronomical clock was carried out from January to September 2018, following a reconstruction of the Old Town Tower. During the renovation, an electric clock mechanism that had been in operation since 1948 was replaced by an original mechanism from the 1860s.", "entry": "section", "prompt": "Dans horloge astronomique de Prague, comment est discutée la Histoire?Veuillez sortir en anglais.", "section_entities": ["Alois Jirásek", "Charles University", "Jan Šindel", "Josef Mánes", "Mikuláš of Kadaň", "Old Town Square", "Prague", "Prague uprising", "Vojtěch Sucharda"]}
{"id": 360, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The astronomical dial is a form of mechanical astrolabe, a device used in medieval astronomy. Alternatively, one may consider the Orloj to be a primitive planetarium, displaying the current orientation of the universe relative to the Earth.The astronomical dial has a background that represents the standing Earth and sky, and surrounding it operate four main moving components: the zodiacal ring, an outer rotating ring, an icon representing the Sun, and an icon representing the Moon.", "entry": "section", "prompt": "Concentrez-vous sur horloge astronomique de Prague et expliquez la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": ["Moon", "Sun"]}
{"id": 361, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The astronomical dial is a form of mechanical astrolabe, a device used in medieval astronomy. Alternatively, one may consider the Orloj to be a primitive planetarium, displaying the current orientation of the universe relative to the Earth.The astronomical dial has a background that represents the standing Earth and sky, and surrounding it operate four main moving components: the zodiacal ring, an outer rotating ring, an icon representing the Sun, and an icon representing the Moon.", "entry": "section", "prompt": "Expliquer la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Moon", "Sun"]}
{"id": 362, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The astronomical dial is a form of mechanical astrolabe, a device used in medieval astronomy. Alternatively, one may consider the Orloj to be a primitive planetarium, displaying the current orientation of the universe relative to the Earth.The astronomical dial has a background that represents the standing Earth and sky, and surrounding it operate four main moving components: the zodiacal ring, an outer rotating ring, an icon representing the Sun, and an icon representing the Moon.", "entry": "section", "prompt": "Comment horloge astronomique de Prague explique-t-il sa Cadran astronomique?Veuillez sortir en anglais.", "section_entities": ["Moon", "Sun"]}
{"id": 363, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The astronomical dial is a form of mechanical astrolabe, a device used in medieval astronomy. Alternatively, one may consider the Orloj to be a primitive planetarium, displaying the current orientation of the universe relative to the Earth.The astronomical dial has a background that represents the standing Earth and sky, and surrounding it operate four main moving components: the zodiacal ring, an outer rotating ring, an icon representing the Sun, and an icon representing the Moon.", "entry": "section", "prompt": "Dans horloge astronomique de Prague, comment est discutée la Cadran astronomique?Veuillez sortir en anglais.", "section_entities": ["Moon", "Sun"]}
{"id": 364, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "{ align=center+ Moving figures left280px left280px 280pxleft}The four figures flanking the clock are set in motion on the hour, and represent four things that were despised at the time of the clock's making. From left to right in the photographs, the first is Vanity, represented by a figure admiring himself in a mirror. Next, the miser holding a bag of gold represents greed or usury. Across the clock stands Death, a skeleton that strikes the time upon the hour. Finally, there is a Turkish figure representing lust and earthly pleasures. On the hour, the skeleton rings the bell and immediately all other figures shake their heads side to side, signifying their unreadiness \"to go\".Every hour of the day, statues of the Twelve Apostles with their attributes appear at the doorways above the clock. The left and right windows above the astronomical clock slide aside to reveal the Apostles as viewed from the square in this order: James the Less and Peter, Andrew and Matthias, Thaddeus and Philip, Thomas and Paul, John and Simon, Barnabas and Bartholomew. Unlike the list of the Twelve Apostles mentioned in the canonical gospels, James the Great and Matthew are missing, replaced by Paul and Barnabas.", "entry": "section", "prompt": "Concentrez-vous sur horloge astronomique de Prague et expliquez la figures animées.Veuillez sortir en anglais.", "section_entities": ["Barnabas", "James the Great", "James the Less"]}
{"id": 365, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "{ align=center+ Moving figures left280px left280px 280pxleft}The four figures flanking the clock are set in motion on the hour, and represent four things that were despised at the time of the clock's making. From left to right in the photographs, the first is Vanity, represented by a figure admiring himself in a mirror. Next, the miser holding a bag of gold represents greed or usury. Across the clock stands Death, a skeleton that strikes the time upon the hour. Finally, there is a Turkish figure representing lust and earthly pleasures. On the hour, the skeleton rings the bell and immediately all other figures shake their heads side to side, signifying their unreadiness \"to go\".Every hour of the day, statues of the Twelve Apostles with their attributes appear at the doorways above the clock. The left and right windows above the astronomical clock slide aside to reveal the Apostles as viewed from the square in this order: James the Less and Peter, Andrew and Matthias, Thaddeus and Philip, Thomas and Paul, John and Simon, Barnabas and Bartholomew. Unlike the list of the Twelve Apostles mentioned in the canonical gospels, James the Great and Matthew are missing, replaced by Paul and Barnabas.", "entry": "section", "prompt": "Expliquer la figures animées de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Barnabas", "James the Great", "James the Less"]}
{"id": 366, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "{ align=center+ Moving figures left280px left280px 280pxleft}The four figures flanking the clock are set in motion on the hour, and represent four things that were despised at the time of the clock's making. From left to right in the photographs, the first is Vanity, represented by a figure admiring himself in a mirror. Next, the miser holding a bag of gold represents greed or usury. Across the clock stands Death, a skeleton that strikes the time upon the hour. Finally, there is a Turkish figure representing lust and earthly pleasures. On the hour, the skeleton rings the bell and immediately all other figures shake their heads side to side, signifying their unreadiness \"to go\".Every hour of the day, statues of the Twelve Apostles with their attributes appear at the doorways above the clock. The left and right windows above the astronomical clock slide aside to reveal the Apostles as viewed from the square in this order: James the Less and Peter, Andrew and Matthias, Thaddeus and Philip, Thomas and Paul, John and Simon, Barnabas and Bartholomew. Unlike the list of the Twelve Apostles mentioned in the canonical gospels, James the Great and Matthew are missing, replaced by Paul and Barnabas.", "entry": "section", "prompt": "Comment horloge astronomique de Prague explique-t-il sa figures animées?Veuillez sortir en anglais.", "section_entities": ["Barnabas", "James the Great", "James the Less"]}
{"id": 367, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "{ align=center+ Moving figures left280px left280px 280pxleft}The four figures flanking the clock are set in motion on the hour, and represent four things that were despised at the time of the clock's making. From left to right in the photographs, the first is Vanity, represented by a figure admiring himself in a mirror. Next, the miser holding a bag of gold represents greed or usury. Across the clock stands Death, a skeleton that strikes the time upon the hour. Finally, there is a Turkish figure representing lust and earthly pleasures. On the hour, the skeleton rings the bell and immediately all other figures shake their heads side to side, signifying their unreadiness \"to go\".Every hour of the day, statues of the Twelve Apostles with their attributes appear at the doorways above the clock. The left and right windows above the astronomical clock slide aside to reveal the Apostles as viewed from the square in this order: James the Less and Peter, Andrew and Matthias, Thaddeus and Philip, Thomas and Paul, John and Simon, Barnabas and Bartholomew. Unlike the list of the Twelve Apostles mentioned in the canonical gospels, James the Great and Matthew are missing, replaced by Paul and Barnabas.", "entry": "section", "prompt": "Dans horloge astronomique de Prague, comment est discutée la figures animées?Veuillez sortir en anglais.", "section_entities": ["Barnabas", "James the Great", "James the Less"]}
{"id": 368, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "{ align=center+ Calendar overview and detail left275px left275px}The calendar plate below the clock was replaced by a copy in 1880. The original made by Josef Mánes is stored in the Prague City Museum. On the edge of the circle is a church calendar with fixed holidays and the names of 365 saints. The board displays allegories of the months. Smaller images represent zodiac signs.Next to the calendar stands a philosopher, archangel Michael pointing at the top of the dial, an astronomer and a chronicler.", "entry": "section", "prompt": "Concentrez-vous sur horloge astronomique de Prague et expliquez la Calendrier.Veuillez sortir en anglais.", "section_entities": ["Josef Mánes", "Prague"]}
{"id": 369, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "{ align=center+ Calendar overview and detail left275px left275px}The calendar plate below the clock was replaced by a copy in 1880. The original made by Josef Mánes is stored in the Prague City Museum. On the edge of the circle is a church calendar with fixed holidays and the names of 365 saints. The board displays allegories of the months. Smaller images represent zodiac signs.Next to the calendar stands a philosopher, archangel Michael pointing at the top of the dial, an astronomer and a chronicler.", "entry": "section", "prompt": "Expliquer la Calendrier de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Josef Mánes", "Prague"]}
{"id": 370, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "{ align=center+ Calendar overview and detail left275px left275px}The calendar plate below the clock was replaced by a copy in 1880. The original made by Josef Mánes is stored in the Prague City Museum. On the edge of the circle is a church calendar with fixed holidays and the names of 365 saints. The board displays allegories of the months. Smaller images represent zodiac signs.Next to the calendar stands a philosopher, archangel Michael pointing at the top of the dial, an astronomer and a chronicler.", "entry": "section", "prompt": "Comment horloge astronomique de Prague explique-t-il sa Calendrier?Veuillez sortir en anglais.", "section_entities": ["Josef Mánes", "Prague"]}
{"id": 371, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "{ align=center+ Calendar overview and detail left275px left275px}The calendar plate below the clock was replaced by a copy in 1880. The original made by Josef Mánes is stored in the Prague City Museum. On the edge of the circle is a church calendar with fixed holidays and the names of 365 saints. The board displays allegories of the months. Smaller images represent zodiac signs.Next to the calendar stands a philosopher, archangel Michael pointing at the top of the dial, an astronomer and a chronicler.", "entry": "section", "prompt": "Dans horloge astronomique de Prague, comment est discutée la Calendrier?Veuillez sortir en anglais.", "section_entities": ["Josef Mánes", "Prague"]}
{"id": 372, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Antikythera mechanism Armillary sphere Equation of time Geocentric model Horology Orrery Šindel sequence Torquetum A replica of the clock is in Mapo District, Seoul", "entry": "section", "prompt": "Concentrez-vous sur horloge astronomique de Prague et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Antikythera mechanism", "Armillary sphere", "Equation of time", "Geocentric model", "Mapo District", "Orrery", "Seoul", "Torquetum", "Šindel sequence"]}
{"id": 373, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Antikythera mechanism Armillary sphere Equation of time Geocentric model Horology Orrery Šindel sequence Torquetum A replica of the clock is in Mapo District, Seoul", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Antikythera mechanism", "Armillary sphere", "Equation of time", "Geocentric model", "Mapo District", "Orrery", "Seoul", "Torquetum", "Šindel sequence"]}
{"id": 374, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Antikythera mechanism Armillary sphere Equation of time Geocentric model Horology Orrery Šindel sequence Torquetum A replica of the clock is in Mapo District, Seoul", "entry": "section", "prompt": "Comment horloge astronomique de Prague explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Antikythera mechanism", "Armillary sphere", "Equation of time", "Geocentric model", "Mapo District", "Orrery", "Seoul", "Torquetum", "Šindel sequence"]}
{"id": 375, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Antikythera mechanism Armillary sphere Equation of time Geocentric model Horology Orrery Šindel sequence Torquetum A replica of the clock is in Mapo District, Seoul", "entry": "section", "prompt": "Dans horloge astronomique de Prague, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Antikythera mechanism", "Armillary sphere", "Equation of time", "Geocentric model", "Mapo District", "Orrery", "Seoul", "Torquetum", "Šindel sequence"]}
{"id": 376, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Six-centième anniversaire et la Histoire.Veuillez sortir en anglais.", "section_entities": []}
{"id": 377, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows.", "entry": "subsection", "prompt": "Expliquer la Six-centième anniversaire concernant la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": []}
{"id": 378, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Six-centième anniversaire de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 379, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Six-centième anniversaire dans la Histoire de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": []}
{"id": 380, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la six cent cinquième anniversaire et la Histoire.Veuillez sortir en anglais.", "section_entities": ["Google Doodle"]}
{"id": 381, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle.", "entry": "subsection", "prompt": "Expliquer la six cent cinquième anniversaire concernant la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Google Doodle"]}
{"id": 382, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la six cent cinquième anniversaire de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Google Doodle"]}
{"id": 383, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la six cent cinquième anniversaire dans la Histoire de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Google Doodle"]}
{"id": 384, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la reconstruction et la Histoire.Veuillez sortir en anglais.", "section_entities": []}
{"id": 385, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018.", "entry": "subsection", "prompt": "Expliquer la reconstruction concernant la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": []}
{"id": 386, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la reconstruction de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 387, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la reconstruction dans la Histoire de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": []}
{"id": 388, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had \"radically changed the appearance, ages, skin tone, dress and even genders of the figures\" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the \"spirit and detail\" of the original. The National Heritage Inspectorate began investigations into the allegations.The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, \"possibly as a joke.\" Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as \"banal and done by an amateur\" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la 2022 reconstruction controverse et la Histoire.Veuillez sortir en anglais.", "section_entities": ["Prague", "Stanislav Jirčík"]}
{"id": 389, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had \"radically changed the appearance, ages, skin tone, dress and even genders of the figures\" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the \"spirit and detail\" of the original. The National Heritage Inspectorate began investigations into the allegations.The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, \"possibly as a joke.\" Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as \"banal and done by an amateur\" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018.", "entry": "subsection", "prompt": "Expliquer la 2022 reconstruction controverse concernant la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Prague", "Stanislav Jirčík"]}
{"id": 390, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had \"radically changed the appearance, ages, skin tone, dress and even genders of the figures\" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the \"spirit and detail\" of the original. The National Heritage Inspectorate began investigations into the allegations.The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, \"possibly as a joke.\" Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as \"banal and done by an amateur\" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la 2022 reconstruction controverse de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Prague", "Stanislav Jirčík"]}
{"id": 391, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had \"radically changed the appearance, ages, skin tone, dress and even genders of the figures\" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the \"spirit and detail\" of the original. The National Heritage Inspectorate began investigations into the allegations.The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, \"possibly as a joke.\" Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as \"banal and done by an amateur\" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la 2022 reconstruction controverse dans la Histoire de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Prague", "Stanislav Jirčík"]}
{"id": 392, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.Written on the eastern  part of the horizon is aurora  and ortus . On the western  part is occasus , and crepusculum .Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal \"hours\". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Stationnaire arrière-plan et la Histoire.Veuillez sortir en anglais.", "section_entities": ["Central European Time", "Prague", "Roman numerals", "Sun"]}
{"id": 393, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.Written on the eastern  part of the horizon is aurora  and ortus . On the western  part is occasus , and crepusculum .Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal \"hours\". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year.", "entry": "subsection", "prompt": "Expliquer la Stationnaire arrière-plan concernant la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Central European Time", "Prague", "Roman numerals", "Sun"]}
{"id": 394, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.Written on the eastern  part of the horizon is aurora  and ortus . On the western  part is occasus , and crepusculum .Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal \"hours\". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Stationnaire arrière-plan de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Central European Time", "Prague", "Roman numerals", "Sun"]}
{"id": 395, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.Written on the eastern  part of the horizon is aurora  and ortus . On the western  part is occasus , and crepusculum .Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal \"hours\". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Stationnaire arrière-plan dans la Histoire de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Central European Time", "Prague", "Roman numerals", "Sun"]}
{"id": 396, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Anneau zodiaque et la Histoire.Veuillez sortir en anglais.", "section_entities": ["Moon", "Roman numerals", "Sun"]}
{"id": 397, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear.", "entry": "subsection", "prompt": "Expliquer la Anneau zodiaque concernant la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Moon", "Roman numerals", "Sun"]}
{"id": 398, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Anneau zodiaque de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Moon", "Roman numerals", "Sun"]}
{"id": 399, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Anneau zodiaque dans la Histoire de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Moon", "Roman numerals", "Sun"]}
{"id": 400, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time , with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm .", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la vieux, tchèque, échelle, de, temps et la Histoire.Veuillez sortir en anglais.", "section_entities": ["Schwabacher"]}
{"id": 401, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time , with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm .", "entry": "subsection", "prompt": "Expliquer la vieux, tchèque, échelle, de, temps concernant la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Schwabacher"]}
{"id": 402, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time , with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm .", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la vieux, tchèque, échelle, de, temps de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Schwabacher"]}
{"id": 403, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time , with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm .", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la vieux, tchèque, échelle, de, temps dans la Histoire de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Schwabacher"]}
{"id": 404, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:# The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.# The position of the Sun over the curved golden lines indicates the time in unequal hours.# The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Soleil et la Histoire.Veuillez sortir en anglais.", "section_entities": ["Prague", "Roman numerals", "Sun"]}
{"id": 405, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:# The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.# The position of the Sun over the curved golden lines indicates the time in unequal hours.# The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine.", "entry": "subsection", "prompt": "Expliquer la Soleil concernant la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Prague", "Roman numerals", "Sun"]}
{"id": 406, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:# The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.# The position of the Sun over the curved golden lines indicates the time in unequal hours.# The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Soleil de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Prague", "Roman numerals", "Sun"]}
{"id": 407, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:# The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.# The position of the Sun over the curved golden lines indicates the time in unequal hours.# The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Soleil dans la Histoire de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Prague", "Roman numerals", "Sun"]}
{"id": 408, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Lune et la Histoire.Veuillez sortir en anglais.", "section_entities": ["Lunar phase", "Moon", "Sun"]}
{"id": 409, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years.", "entry": "subsection", "prompt": "Expliquer la Lune concernant la Histoire de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Lunar phase", "Moon", "Sun"]}
{"id": 410, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Lune de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Lunar phase", "Moon", "Sun"]}
{"id": 411, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Lune dans la Histoire de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Lunar phase", "Moon", "Sun"]}
{"id": 412, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Six-centième anniversaire et la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": []}
{"id": 413, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows.", "entry": "subsection", "prompt": "Expliquer la Six-centième anniversaire concernant la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": []}
{"id": 414, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Six-centième anniversaire de la Cadran astronomique est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 415, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On 9 October 2010, the Orloj's 600th anniversary was celebrated with a light show on the face of the clock tower. Two projectors were used to project several animated videos on the clock. The videos showed it being built, torn down, rebuilt, and peeled away to show its internal mechanisms and the famous animated figures, as well as various events in the clock's history. The video interacted with the tower's architecture, such as rain rolling off the arch, and showing the passage of time with moving shadows.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Six-centième anniversaire dans la Cadran astronomique de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": []}
{"id": 416, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la six cent cinquième anniversaire et la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": ["Google Doodle"]}
{"id": 417, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle.", "entry": "subsection", "prompt": "Expliquer la six cent cinquième anniversaire concernant la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Google Doodle"]}
{"id": 418, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la six cent cinquième anniversaire de la Cadran astronomique est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Google Doodle"]}
{"id": 419, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "On its 605th anniversary, 9 October 2015, the Orloj appeared on the Google home page as a Google Doodle.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la six cent cinquième anniversaire dans la Cadran astronomique de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Google Doodle"]}
{"id": 420, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la reconstruction et la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": []}
{"id": 421, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018.", "entry": "subsection", "prompt": "Expliquer la reconstruction concernant la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": []}
{"id": 422, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la reconstruction de la Cadran astronomique est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 423, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The Orloj was taken down for reconstruction and replaced by a LED screen in early 2018, with the restoration works scheduled to last for the whole summer tourist season of 2018 and the restored actual Orloj eventually being back in service soon enough to commemorate the 100th anniversary of Czechoslovakia at the end of October 2018. With the reconstruction and restoration work completed, it resumed operations at 6 p.m. local time on 28 September 2018.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la reconstruction dans la Cadran astronomique de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": []}
{"id": 424, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had \"radically changed the appearance, ages, skin tone, dress and even genders of the figures\" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the \"spirit and detail\" of the original. The National Heritage Inspectorate began investigations into the allegations.The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, \"possibly as a joke.\" Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as \"banal and done by an amateur\" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la 2022 reconstruction controverse et la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": ["Prague", "Stanislav Jirčík"]}
{"id": 425, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had \"radically changed the appearance, ages, skin tone, dress and even genders of the figures\" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the \"spirit and detail\" of the original. The National Heritage Inspectorate began investigations into the allegations.The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, \"possibly as a joke.\" Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as \"banal and done by an amateur\" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018.", "entry": "subsection", "prompt": "Expliquer la 2022 reconstruction controverse concernant la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Prague", "Stanislav Jirčík"]}
{"id": 426, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had \"radically changed the appearance, ages, skin tone, dress and even genders of the figures\" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the \"spirit and detail\" of the original. The National Heritage Inspectorate began investigations into the allegations.The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, \"possibly as a joke.\" Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as \"banal and done by an amateur\" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la 2022 reconstruction controverse de la Cadran astronomique est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Prague", "Stanislav Jirčík"]}
{"id": 427, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The artwork on the Orloj became the center of controversy after a local heritage group noticed the reproduction had \"radically changed the appearance, ages, skin tone, dress and even genders of the figures\" illustrated by Mánes in 1866. A member of the Club for Old Prague, Milan Patka, registered a complaint with the Ministry of Culture, alleging that in the restoration, painter Stanislav Jirčík had deviated from the \"spirit and detail\" of the original. The National Heritage Inspectorate began investigations into the allegations.The Guardian reported that the artist may have put the likenesses of his friends and acquaintances into the work, \"possibly as a joke.\" Upon this discovery, the Prague city council's deputy mayor for transport and heritage criticized the botched restoration as \"banal and done by an amateur\" and suggested the city might need to commission a replacement. It is not yet known how the restoration's discrepancy with the original had escaped detection when the work was installed in 2018.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la 2022 reconstruction controverse dans la Cadran astronomique de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Prague", "Stanislav Jirčík"]}
{"id": 428, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.Written on the eastern  part of the horizon is aurora  and ortus . On the western  part is occasus , and crepusculum .Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal \"hours\". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Stationnaire arrière-plan et la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": ["Central European Time", "Prague", "Roman numerals", "Sun"]}
{"id": 429, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.Written on the eastern  part of the horizon is aurora  and ortus . On the western  part is occasus , and crepusculum .Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal \"hours\". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year.", "entry": "subsection", "prompt": "Expliquer la Stationnaire arrière-plan concernant la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Central European Time", "Prague", "Roman numerals", "Sun"]}
{"id": 430, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.Written on the eastern  part of the horizon is aurora  and ortus . On the western  part is occasus , and crepusculum .Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal \"hours\". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Stationnaire arrière-plan de la Cadran astronomique est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Central European Time", "Prague", "Roman numerals", "Sun"]}
{"id": 431, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The background represents the Earth and the local view of the sky. The blue circle directly in the centre represents the Earth, and the upper blue is the portion of the sky which is above the horizon. The red and black areas indicate portions of the sky below the horizon. During the daytime, the Sun sits over the blue part of the background and at night it sits over the black. During dawn or dusk, the mechanical sun is positioned over the red part of the background.Written on the eastern  part of the horizon is aurora  and ortus . On the western  part is occasus , and crepusculum .Golden Roman numerals at the outer edge of blue circle are the timescale of a normal 24-hour day and indicate time in local Prague time, or Central European Time. Curved golden lines dividing the blue part of dial into 12 parts are marks for unequal \"hours\". These hours are defined as 1/12 of the time between sunrise and sunset, and vary as the days grow longer or shorter during the year.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Stationnaire arrière-plan dans la Cadran astronomique de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Central European Time", "Prague", "Roman numerals", "Sun"]}
{"id": 432, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Anneau zodiaque et la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": ["Moon", "Roman numerals", "Sun"]}
{"id": 433, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear.", "entry": "subsection", "prompt": "Expliquer la Anneau zodiaque concernant la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Moon", "Roman numerals", "Sun"]}
{"id": 434, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Anneau zodiaque de la Cadran astronomique est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Moon", "Roman numerals", "Sun"]}
{"id": 435, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "Inside the large black outer circle lies another movable circle marked with the signs of the zodiac which indicates the location of the Sun on the ecliptic. The signs are shown in anticlockwise order. In the photograph accompanying this section, the Sun is currently moving anticlockwise from Cancer into Leo.The displacement of the zodiac circle results from the use of a stereographic projection of the ecliptic plane using the North pole as the basis of the projection. This is commonly seen in astronomical clocks of the period.The small golden star shows the position of the vernal equinox, and sidereal time can be read on the scale with golden Roman numerals. The zodiac is on the 365-tooth gear inside the machine. This gear is connected to the Sun gear and the Moon gear by a 24-tooth gear.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Anneau zodiaque dans la Cadran astronomique de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Moon", "Roman numerals", "Sun"]}
{"id": 436, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time , with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm .", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la vieux, tchèque, échelle, de, temps et la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": ["Schwabacher"]}
{"id": 437, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time , with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm .", "entry": "subsection", "prompt": "Expliquer la vieux, tchèque, échelle, de, temps concernant la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Schwabacher"]}
{"id": 438, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time , with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm .", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la vieux, tchèque, échelle, de, temps de la Cadran astronomique est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Schwabacher"]}
{"id": 439, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "At the outer edge of the clock, golden Schwabacher numerals are set on a black background. These numbers indicate Old Czech Time , with 24 indicating the time of sunset, which varies during the year from as early as 16:00 in winter to 20:16 in summer. This ring moves back and forth during the year to coincide with the time of sunset. The outermost diameter of the ring is approximately 300cm .", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la vieux, tchèque, échelle, de, temps dans la Cadran astronomique de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Schwabacher"]}
{"id": 440, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:# The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.# The position of the Sun over the curved golden lines indicates the time in unequal hours.# The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Soleil et la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": ["Prague", "Roman numerals", "Sun"]}
{"id": 441, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:# The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.# The position of the Sun over the curved golden lines indicates the time in unequal hours.# The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine.", "entry": "subsection", "prompt": "Expliquer la Soleil concernant la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Prague", "Roman numerals", "Sun"]}
{"id": 442, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:# The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.# The position of the Sun over the curved golden lines indicates the time in unequal hours.# The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Soleil de la Cadran astronomique est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Prague", "Roman numerals", "Sun"]}
{"id": 443, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The golden Sun moves around the zodiacal circle, thus showing its position on the ecliptic. The Sun is attached to an arm with a golden hand, and together they show the time in three different ways:# The position of the golden hand over the Roman numerals on the background indicates the time in local Prague time.# The position of the Sun over the curved golden lines indicates the time in unequal hours.# The position of the golden hand over the outer ring indicates the hours passed after sunset in Old Czech Time.Additionally, the distance of the Sun from the center of the dial shows the time of sunrise and sunset. The Sun and its hand are on the 366-tooth gear inside the machine.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Soleil dans la Cadran astronomique de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Prague", "Roman numerals", "Sun"]}
{"id": 444, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years.", "entry": "subsection", "prompt": "Dans le contexte de horloge astronomique de Prague, expliquez la Lune et la Cadran astronomique.Veuillez sortir en anglais.", "section_entities": ["Lunar phase", "Moon", "Sun"]}
{"id": 445, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years.", "entry": "subsection", "prompt": "Expliquer la Lune concernant la Cadran astronomique de cette œuvre d'art, horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Lunar phase", "Moon", "Sun"]}
{"id": 446, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years.", "entry": "subsection", "prompt": "Dans horloge astronomique de Prague, comment la Lune de la Cadran astronomique est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Lunar phase", "Moon", "Sun"]}
{"id": 447, "title": "horloge astronomique de Prague", "en_title": "Prague astronomical clock", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/37/Astronomical_Clock_%288341899828%29.jpg/270px-Astronomical_Clock_%288341899828%29.jpg", "reference": "The movement of the Moon on the ecliptic is shown similarly to that of the Sun, although the speed is much faster, due to the Moon's orbit around the Earth. The Moon's arm is on the 379-tooth gear inside the clock machine.The half-silvered, half-black sphere of the Moon also shows the Lunar phase. The Moon has a 57-tooth gear inside its sphere, and is slowly rotated by a screw-thread attached to a weight, advancing two teeth per day. This movement, powered only by gravity, makes the Orloj unique in the world among astronomical clocks showing the phases of the Moon. The mechanism was created by an unknown maker, probably in the mid-17th century. Unlike the original device, the construction of which was described in a report from 1570, this mechanism produces much smaller deviation from the actual lunar phase of about one day in five years.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Lune dans la Cadran astronomique de horloge astronomique de Prague.Veuillez sortir en anglais.", "section_entities": ["Lunar phase", "Moon", "Sun"]}
{"id": 448, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "type=Oil on panel height_metric=38.1 width_metric=37 metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci . It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.", "entry": "section", "prompt": "Concentrez-vous sur Portrait de Ginevra de' Benci et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Americas", "Franz Joseph II, Prince of Liechtenstein", "Leonardo da Vinci", "National Gallery of Art", "Washington, D.C."]}
{"id": 449, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "type=Oil on panel height_metric=38.1 width_metric=37 metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci . It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Portrait de Ginevra de' Benci.Veuillez sortir en anglais.", "section_entities": ["Americas", "Franz Joseph II, Prince of Liechtenstein", "Leonardo da Vinci", "National Gallery of Art", "Washington, D.C."]}
{"id": 450, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "type=Oil on panel height_metric=38.1 width_metric=37 metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci . It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.", "entry": "section", "prompt": "Comment Portrait de Ginevra de' Benci explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Americas", "Franz Joseph II, Prince of Liechtenstein", "Leonardo da Vinci", "National Gallery of Art", "Washington, D.C."]}
{"id": 451, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "type=Oil on panel height_metric=38.1 width_metric=37 metric_unit=cm imperial_unit=in city=Washington, D.C. museum=National Gallery of Art}}Ginevra de' Benci is a portrait painting by Leonardo da Vinci of the 15th-century Florentine aristocrat Ginevra de' Benci . It was acquired by the National Gallery of Art in Washington, D.C. US from Franz Joseph II, Prince of Liechtenstein in February 1967 for a record price for a painting of between $5 and $6 million. It is the only painting by Leonardo on public view in the Americas.", "entry": "section", "prompt": "Dans Portrait de Ginevra de' Benci, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Americas", "Franz Joseph II, Prince of Liechtenstein", "Leonardo da Vinci", "National Gallery of Art", "Washington, D.C."]}
{"id": 452, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the tin motto  —further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto \"Virtue and Honor\" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.", "entry": "section", "prompt": "Concentrez-vous sur Portrait de Ginevra de' Benci et expliquez la sujet.Veuillez sortir en anglais.", "section_entities": ["Bernardo Bembo", "Florence", "Luigi di Bernardo Niccolini", "National Gallery of Art", "Susan Dorothea White"]}
{"id": 453, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the tin motto  —further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto \"Virtue and Honor\" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.", "entry": "section", "prompt": "Expliquer la sujet de cette œuvre d'art, Portrait de Ginevra de' Benci.Veuillez sortir en anglais.", "section_entities": ["Bernardo Bembo", "Florence", "Luigi di Bernardo Niccolini", "National Gallery of Art", "Susan Dorothea White"]}
{"id": 454, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the tin motto  —further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto \"Virtue and Honor\" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.", "entry": "section", "prompt": "Comment Portrait de Ginevra de' Benci explique-t-il sa sujet?Veuillez sortir en anglais.", "section_entities": ["Bernardo Bembo", "Florence", "Luigi di Bernardo Niccolini", "National Gallery of Art", "Susan Dorothea White"]}
{"id": 455, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "Ginevra de' Benci, a well-known young Florentine woman, is universally considered to be the portrait's sitter. Leonardo painted the portrait in Florence between 1474 and 1478, possibly to commemorate Ginevra's marriage to Luigi di Bernardo Niccolini at the age of 16. More likely, it commemorates the engagement. Commonly, contemporary portraits of females were commissioned for either of two occasions: betrothal or marriage.  Wedding portraits traditionally were created in pairs, with the woman on the right, facing left; since this portrait faces right, it more likely represents betrothal.The juniper bush that surrounds Ginevra's head and fills much of the background, serves more than mere decorative purposes. In Renaissance Italy, the juniper was regarded a symbol of female virtue, while the Italian word for juniper, ginepro, also makes a play on Ginevra's name.The imagery and text on the reverse of the panel—a juniper sprig encircled by a wreath of laurel and palm, memorialized by the tin motto  —further support the identification of the portrait. The phrase is understood as symbolizing the intricate relationship between Ginevra's intellectual and moral virtue on the one hand, and her physical beauty on the other. The sprig of juniper, encircled by laurel and palm, suggests her name. The laurel and palm are in the personal emblem of Bernardo Bembo, a Venetian ambassador to Florence whose platonic relationship with Ginevra is revealed in poems exchanged between them. Infrared examination has revealed Bembo's motto \"Virtue and Honor\" beneath Ginevra's, making it likely that Bembo was somehow involved in the commission of the portrait.The portrait is one of the highlights of the National Gallery of Art, and is admired by many for its portrayal of Ginevra's temperament. Ginevra is beautiful, but austere; she has no hint of a smile and her gaze, although forward, seems indifferent to the viewer.At some point, the bottom of the painting was removed, presumably owing to damage, and Ginevra's arms and hands are thought to have been lost. Using the golden ratio, Susan Dorothea White has drawn an interpretation of how her arms and hands may have been positioned in the original. The adaptation is based on drawings of hands by Leonardo thought to be studies for this painting.", "entry": "section", "prompt": "Dans Portrait de Ginevra de' Benci, comment est discutée la sujet?Veuillez sortir en anglais.", "section_entities": ["Bernardo Bembo", "Florence", "Luigi di Bernardo Niccolini", "National Gallery of Art", "Susan Dorothea White"]}
{"id": 456, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo ndino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself. According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni. Ginevra's brother Giovanni  was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son. In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty tin sentences signed VINCI, formed with the very same alphabetical letters of the motto  when supplemented with the tin word iuniperus . Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.", "entry": "section", "prompt": "Concentrez-vous sur Portrait de Ginevra de' Benci et expliquez la Trivialités.Veuillez sortir en anglais.", "section_entities": ["Domenico Ghirlandaio", "Florence", "Giorgio Vasari", "Lorenzo de' Medici", "Santa Maria Novella"]}
{"id": 457, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo ndino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself. According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni. Ginevra's brother Giovanni  was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son. In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty tin sentences signed VINCI, formed with the very same alphabetical letters of the motto  when supplemented with the tin word iuniperus . Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.", "entry": "section", "prompt": "Expliquer la Trivialités de cette œuvre d'art, Portrait de Ginevra de' Benci.Veuillez sortir en anglais.", "section_entities": ["Domenico Ghirlandaio", "Florence", "Giorgio Vasari", "Lorenzo de' Medici", "Santa Maria Novella"]}
{"id": 458, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo ndino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself. According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni. Ginevra's brother Giovanni  was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son. In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty tin sentences signed VINCI, formed with the very same alphabetical letters of the motto  when supplemented with the tin word iuniperus . Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.", "entry": "section", "prompt": "Comment Portrait de Ginevra de' Benci explique-t-il sa Trivialités?Veuillez sortir en anglais.", "section_entities": ["Domenico Ghirlandaio", "Florence", "Giorgio Vasari", "Lorenzo de' Medici", "Santa Maria Novella"]}
{"id": 459, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "As a woman of renowned beauty, Ginevra de' Benci was also the subject of ten poems written by members of the Medici circle, Cristoforo ndino and Alessandro Braccesi, and of two sonnets by Lorenzo de' Medici himself. According to Giorgio Vasari, Ginevra de' Benci was also included in the fresco by Domenico Ghirlandaio of the Visitation of Mary and Elizabeth in the church of Santa Maria Novella in Florence, but it is now believed that Vasari made a mistake and that Ghirlandaio painted Giovanna Tornabuoni. Ginevra's brother Giovanni  was a friend of Leonardo. When Vasari wrote his Lives, Leonardo's unfinished Adoration of the Magi was in the house of Amerigo Benci, Giovanni's son. In 2017, the researcher and cryptographer Carla Glori anagrammatized fifty tin sentences signed VINCI, formed with the very same alphabetical letters of the motto  when supplemented with the tin word iuniperus . Glori argues that the anagrams form a coherent text and have a meaning that unequivocally refers to the portrait and to the biography of Ginevra Benci.", "entry": "section", "prompt": "Dans Portrait de Ginevra de' Benci, comment est discutée la Trivialités?Veuillez sortir en anglais.", "section_entities": ["Domenico Ghirlandaio", "Florence", "Giorgio Vasari", "Lorenzo de' Medici", "Santa Maria Novella"]}
{"id": 460, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "List of works by Leonardo da Vinci Pietro Bembo, notable son of Bernardo Bembo", "entry": "section", "prompt": "Concentrez-vous sur Portrait de Ginevra de' Benci et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Bernardo Bembo", "Leonardo da Vinci", "List of works by Leonardo da Vinci", "Pietro Bembo"]}
{"id": 461, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "List of works by Leonardo da Vinci Pietro Bembo, notable son of Bernardo Bembo", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Portrait de Ginevra de' Benci.Veuillez sortir en anglais.", "section_entities": ["Bernardo Bembo", "Leonardo da Vinci", "List of works by Leonardo da Vinci", "Pietro Bembo"]}
{"id": 462, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "List of works by Leonardo da Vinci Pietro Bembo, notable son of Bernardo Bembo", "entry": "section", "prompt": "Comment Portrait de Ginevra de' Benci explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Bernardo Bembo", "Leonardo da Vinci", "List of works by Leonardo da Vinci", "Pietro Bembo"]}
{"id": 463, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "List of works by Leonardo da Vinci Pietro Bembo, notable son of Bernardo Bembo", "entry": "section", "prompt": "Dans Portrait de Ginevra de' Benci, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Bernardo Bembo", "Leonardo da Vinci", "List of works by Leonardo da Vinci", "Pietro Bembo"]}
{"id": 464, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "For an unorthodox view on Ginevra de' Benci see:  or the Second Revised Edition of the same book, by Gingko Edizioni, Verona, For an in depth analysis of the \"motions of the mind\"  of Ginevra de Benci see Glori C, I moti mentali e la biografia di Ginevra de Benci in https://www.academia.edu/41930706/I_moti_mentali_e_la_biografia_di_Ginevra_Benci_Ritrar_listoria_nel_segno_della_psicoanalisi_e_dellarte_contemporanea", "entry": "section", "prompt": "Concentrez-vous sur Portrait de Ginevra de' Benci et expliquez la Références.Veuillez sortir en anglais.", "section_entities": []}
{"id": 465, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "For an unorthodox view on Ginevra de' Benci see:  or the Second Revised Edition of the same book, by Gingko Edizioni, Verona, For an in depth analysis of the \"motions of the mind\"  of Ginevra de Benci see Glori C, I moti mentali e la biografia di Ginevra de Benci in https://www.academia.edu/41930706/I_moti_mentali_e_la_biografia_di_Ginevra_Benci_Ritrar_listoria_nel_segno_della_psicoanalisi_e_dellarte_contemporanea", "entry": "section", "prompt": "Expliquer la Références de cette œuvre d'art, Portrait de Ginevra de' Benci.Veuillez sortir en anglais.", "section_entities": []}
{"id": 466, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "For an unorthodox view on Ginevra de' Benci see:  or the Second Revised Edition of the same book, by Gingko Edizioni, Verona, For an in depth analysis of the \"motions of the mind\"  of Ginevra de Benci see Glori C, I moti mentali e la biografia di Ginevra de Benci in https://www.academia.edu/41930706/I_moti_mentali_e_la_biografia_di_Ginevra_Benci_Ritrar_listoria_nel_segno_della_psicoanalisi_e_dellarte_contemporanea", "entry": "section", "prompt": "Comment Portrait de Ginevra de' Benci explique-t-il sa Références?Veuillez sortir en anglais.", "section_entities": []}
{"id": 467, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "For an unorthodox view on Ginevra de' Benci see:  or the Second Revised Edition of the same book, by Gingko Edizioni, Verona, For an in depth analysis of the \"motions of the mind\"  of Ginevra de Benci see Glori C, I moti mentali e la biografia di Ginevra de Benci in https://www.academia.edu/41930706/I_moti_mentali_e_la_biografia_di_Ginevra_Benci_Ritrar_listoria_nel_segno_della_psicoanalisi_e_dellarte_contemporanea", "entry": "section", "prompt": "Dans Portrait de Ginevra de' Benci, comment est discutée la Références?Veuillez sortir en anglais.", "section_entities": []}
{"id": 468, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "Hand, J. O. . National Gallery of Art: Master Paintings from the Collection.  New York: National Gallery of Art, Washington.  . p.&nbsp;28. Brown, David Alan . Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women. Princeton University Press. .", "entry": "subsection", "prompt": "Dans le contexte de Portrait de Ginevra de' Benci, expliquez la Sources et la Références.Veuillez sortir en anglais.", "section_entities": ["National Gallery of Art"]}
{"id": 469, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "Hand, J. O. . National Gallery of Art: Master Paintings from the Collection.  New York: National Gallery of Art, Washington.  . p.&nbsp;28. Brown, David Alan . Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women. Princeton University Press. .", "entry": "subsection", "prompt": "Expliquer la Sources concernant la Références de cette œuvre d'art, Portrait de Ginevra de' Benci.Veuillez sortir en anglais.", "section_entities": ["National Gallery of Art"]}
{"id": 470, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "Hand, J. O. . National Gallery of Art: Master Paintings from the Collection.  New York: National Gallery of Art, Washington.  . p.&nbsp;28. Brown, David Alan . Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women. Princeton University Press. .", "entry": "subsection", "prompt": "Dans Portrait de Ginevra de' Benci, comment la Sources de la Références est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["National Gallery of Art"]}
{"id": 471, "title": "Portrait de Ginevra de' Benci", "en_title": "Ginevra de' Benci", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg/270px-Leonardo_da_Vinci_-_Ginevra_de%27_Benci_-_Google_Art_Project.jpg", "reference": "Hand, J. O. . National Gallery of Art: Master Paintings from the Collection.  New York: National Gallery of Art, Washington.  . p.&nbsp;28. Brown, David Alan . Virtue and Beauty: Leonardo's Ginevra de' Benci and Renaissance Portraits of Women. Princeton University Press. .", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Sources dans la Références de Portrait de Ginevra de' Benci.Veuillez sortir en anglais.", "section_entities": ["National Gallery of Art"]}
{"id": 472, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.", "entry": "section", "prompt": "Concentrez-vous sur Les Bourgeois de Calais et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Auguste Rodin", "Calais", "English Channel", "Hundred Years' War"]}
{"id": 473, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.", "section_entities": ["Auguste Rodin", "Calais", "English Channel", "Hundred Years' War"]}
{"id": 474, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.", "entry": "section", "prompt": "Comment Les Bourgeois de Calais explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Auguste Rodin", "Calais", "English Channel", "Hundred Years' War"]}
{"id": 475, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "width_imperial     =  length_imperial    =  metric_unit        = cm imperial_unit      = in city               = Calais, France museum             =  coordinates        =  }}The Burghers of Calais  is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.", "entry": "section", "prompt": "Dans Les Bourgeois de Calais, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Auguste Rodin", "Calais", "English Channel", "Hundred Years' War"]}
{"id": 476, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.", "entry": "section", "prompt": "Concentrez-vous sur Les Bourgeois de Calais et expliquez la Histoire.Veuillez sortir en anglais.", "section_entities": ["Battle of Crécy", "Calais", "Eustache de Saint Pierre", "Jean Froissart", "Philip VI of France", "Philippa of Hainault"]}
{"id": 477, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.", "entry": "section", "prompt": "Expliquer la Histoire de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.", "section_entities": ["Battle of Crécy", "Calais", "Eustache de Saint Pierre", "Jean Froissart", "Philip VI of France", "Philippa of Hainault"]}
{"id": 478, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.", "entry": "section", "prompt": "Comment Les Bourgeois de Calais explique-t-il sa Histoire?Veuillez sortir en anglais.", "section_entities": ["Battle of Crécy", "Calais", "Eustache de Saint Pierre", "Jean Froissart", "Philip VI of France", "Philippa of Hainault"]}
{"id": 479, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart  tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.", "entry": "section", "prompt": "Dans Les Bourgeois de Calais, comment est discutée la Histoire?Veuillez sortir en anglais.", "section_entities": ["Battle of Crécy", "Calais", "Eustache de Saint Pierre", "Jean Froissart", "Philip VI of France", "Philippa of Hainault"]}
{"id": 480, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked \"overtly heroic antique references\" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to \"almost bump into\" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.", "entry": "section", "prompt": "Concentrez-vous sur Les Bourgeois de Calais et expliquez la Composition.Veuillez sortir en anglais.", "section_entities": ["Auguste Clésinger", "Calais", "David d'Angers", "Eustache de Saint Pierre", "Franco-Prussian War", "Parc Richelieu"]}
{"id": 481, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked \"overtly heroic antique references\" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to \"almost bump into\" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.", "entry": "section", "prompt": "Expliquer la Composition de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.", "section_entities": ["Auguste Clésinger", "Calais", "David d'Angers", "Eustache de Saint Pierre", "Franco-Prussian War", "Parc Richelieu"]}
{"id": 482, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked \"overtly heroic antique references\" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to \"almost bump into\" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.", "entry": "section", "prompt": "Comment Les Bourgeois de Calais explique-t-il sa Composition?Veuillez sortir en anglais.", "section_entities": ["Auguste Clésinger", "Calais", "David d'Angers", "Eustache de Saint Pierre", "Franco-Prussian War", "Parc Richelieu"]}
{"id": 483, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked \"overtly heroic antique references\" which were considered integral to public sculpture.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to \"almost bump into\" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.", "entry": "section", "prompt": "Dans Les Bourgeois de Calais, comment est discutée la Composition?Veuillez sortir en anglais.", "section_entities": ["Auguste Clésinger", "Calais", "David d'Angers", "Eustache de Saint Pierre", "Franco-Prussian War", "Parc Richelieu"]}
{"id": 484, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire", "entry": "section", "prompt": "Concentrez-vous sur Les Bourgeois de Calais et expliquez la Personnesdépeintes.Veuillez sortir en anglais.", "section_entities": ["Andrieu d'Andres", "Eustache de Saint Pierre", "Jacques de Wissant", "Jean d'Aire", "Jean de Fiennes"]}
{"id": 485, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire", "entry": "section", "prompt": "Expliquer la Personnesdépeintes de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.", "section_entities": ["Andrieu d'Andres", "Eustache de Saint Pierre", "Jacques de Wissant", "Jean d'Aire", "Jean de Fiennes"]}
{"id": 486, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire", "entry": "section", "prompt": "Comment Les Bourgeois de Calais explique-t-il sa Personnesdépeintes?Veuillez sortir en anglais.", "section_entities": ["Andrieu d'Andres", "Eustache de Saint Pierre", "Jacques de Wissant", "Jean d'Aire", "Jean de Fiennes"]}
{"id": 487, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "The six burghers depicted are: Eustache de Saint Pierre Jacques de Wissant Pierre de Wissant Jean de Fiennes Andrieu d'Andres Jean d'Aire", "entry": "section", "prompt": "Dans Les Bourgeois de Calais, comment est discutée la Personnesdépeintes?Veuillez sortir en anglais.", "section_entities": ["Andrieu d'Andres", "Eustache de Saint Pierre", "Jacques de Wissant", "Jean d'Aire", "Jean de Fiennes"]}
{"id": 488, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  \"The man with the key\" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.", "entry": "section", "prompt": "Concentrez-vous sur Les Bourgeois de Calais et expliquez la Moulages.Veuillez sortir en anglais.", "section_entities": ["Basel", "Calais", "Cantor Fitzgerald", "Davidson College", "Hirshhorn Museum and Sculpture Garden", "Jean d'Aire", "Jean de Fiennes", "Los Angeles County Museum of Art", "Maquette", "Metropolitan Museum of Art", "Morlanwelz", "Musée Rodin", "Musée royal de Mariemont", "National Museum of Western Art", "Norton Simon Museum", "Pasadena, California", "Philadelphia", "Rodin Museum", "Seoul", "Shizuoka Prefectural Museum of Art", "Stanford University"]}
{"id": 489, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  \"The man with the key\" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.", "entry": "section", "prompt": "Expliquer la Moulages de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.", "section_entities": ["Basel", "Calais", "Cantor Fitzgerald", "Davidson College", "Hirshhorn Museum and Sculpture Garden", "Jean d'Aire", "Jean de Fiennes", "Los Angeles County Museum of Art", "Maquette", "Metropolitan Museum of Art", "Morlanwelz", "Musée Rodin", "Musée royal de Mariemont", "National Museum of Western Art", "Norton Simon Museum", "Pasadena, California", "Philadelphia", "Rodin Museum", "Seoul", "Shizuoka Prefectural Museum of Art", "Stanford University"]}
{"id": 490, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  \"The man with the key\" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.", "entry": "section", "prompt": "Comment Les Bourgeois de Calais explique-t-il sa Moulages?Veuillez sortir en anglais.", "section_entities": ["Basel", "Calais", "Cantor Fitzgerald", "Davidson College", "Hirshhorn Museum and Sculpture Garden", "Jean d'Aire", "Jean de Fiennes", "Los Angeles County Museum of Art", "Maquette", "Metropolitan Museum of Art", "Morlanwelz", "Musée Rodin", "Musée royal de Mariemont", "National Museum of Western Art", "Norton Simon Museum", "Pasadena, California", "Philadelphia", "Rodin Museum", "Seoul", "Shizuoka Prefectural Museum of Art", "Stanford University"]}
{"id": 491, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at: Glyptoteket in Copenhagen, cast 1903; the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 ; Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915; the Rodin Museum in Philadelphia, cast 1925 and installed in 1929; the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955; Kunstmuseum in Basel, cast 1943 and installed in 1948; the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966; the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959; the Norton Simon Museum in Pasadena, California, cast 1968; the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989; and Plateau  in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are: sculptures of all individual figures on the campus of Stanford University; sculptures of all individual figures  and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan; sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden; a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;  \"The man with the key\" figure , on the Sommerro Park in Oslo, Norway; and a bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.", "entry": "section", "prompt": "Dans Les Bourgeois de Calais, comment est discutée la Moulages?Veuillez sortir en anglais.", "section_entities": ["Basel", "Calais", "Cantor Fitzgerald", "Davidson College", "Hirshhorn Museum and Sculpture Garden", "Jean d'Aire", "Jean de Fiennes", "Los Angeles County Museum of Art", "Maquette", "Metropolitan Museum of Art", "Morlanwelz", "Musée Rodin", "Musée royal de Mariemont", "National Museum of Western Art", "Norton Simon Museum", "Pasadena, California", "Philadelphia", "Rodin Museum", "Seoul", "Shizuoka Prefectural Museum of Art", "Stanford University"]}
{"id": 492, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "List of sculptures by Auguste Rodin", "entry": "section", "prompt": "Concentrez-vous sur Les Bourgeois de Calais et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Auguste Rodin", "List of sculptures by Auguste Rodin"]}
{"id": 493, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "List of sculptures by Auguste Rodin", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.", "section_entities": ["Auguste Rodin", "List of sculptures by Auguste Rodin"]}
{"id": 494, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "List of sculptures by Auguste Rodin", "entry": "section", "prompt": "Comment Les Bourgeois de Calais explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Auguste Rodin", "List of sculptures by Auguste Rodin"]}
{"id": 495, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "List of sculptures by Auguste Rodin", "entry": "section", "prompt": "Dans Les Bourgeois de Calais, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Auguste Rodin", "List of sculptures by Auguste Rodin"]}
{"id": 496, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .", "entry": "section", "prompt": "Concentrez-vous sur Les Bourgeois de Calais et expliquez la Références.Veuillez sortir en anglais.", "section_entities": []}
{"id": 497, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .", "entry": "section", "prompt": "Expliquer la Références de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.", "section_entities": []}
{"id": 498, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .", "entry": "section", "prompt": "Comment Les Bourgeois de Calais explique-t-il sa Références?Veuillez sortir en anglais.", "section_entities": []}
{"id": 499, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Elsen, Albert E. .  Rodin.  New York:  Museum of Modern Art. Jianou, Ionel .  Rodin.  Paris:  ARTED. urent, Monique .  Rodin.  New York:  Konecky & Konecky.  .", "entry": "section", "prompt": "Dans Les Bourgeois de Calais, comment est discutée la Références?Veuillez sortir en anglais.", "section_entities": []}
{"id": 500, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Benedek, Nelly Silagy .", "entry": "section", "prompt": "Concentrez-vous sur Les Bourgeois de Calais et expliquez la Lectures supplémentaires.Veuillez sortir en anglais.", "section_entities": []}
{"id": 501, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Benedek, Nelly Silagy .", "entry": "section", "prompt": "Expliquer la Lectures supplémentaires de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.", "section_entities": []}
{"id": 502, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Benedek, Nelly Silagy .", "entry": "section", "prompt": "Comment Les Bourgeois de Calais explique-t-il sa Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": []}
{"id": 503, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Benedek, Nelly Silagy .", "entry": "section", "prompt": "Dans Les Bourgeois de Calais, comment est discutée la Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": []}
{"id": 504, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>", "entry": "section", "prompt": "Concentrez-vous sur Les Bourgeois de Calais et expliquez la Liensexternes.Veuillez sortir en anglais.", "section_entities": ["Calais"]}
{"id": 505, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>", "entry": "section", "prompt": "Expliquer la Liensexternes de cette œuvre d'art, Les Bourgeois de Calais.Veuillez sortir en anglais.", "section_entities": ["Calais"]}
{"id": 506, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>", "entry": "section", "prompt": "Comment Les Bourgeois de Calais explique-t-il sa Liensexternes?Veuillez sortir en anglais.", "section_entities": ["Calais"]}
{"id": 507, "title": "Les Bourgeois de Calais", "en_title": "The Burghers of Calais", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Statue_bourgeois_calais_rodin.jpg/220px-Statue_bourgeois_calais_rodin.jpg", "reference": "Link to account of the theft and recovery of The Burghers of Calais during WWII:<br>", "entry": "section", "prompt": "Dans Les Bourgeois de Calais, comment est discutée la Liensexternes?Veuillez sortir en anglais.", "section_entities": ["Calais"]}
{"id": 508, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.", "entry": "section", "prompt": "Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Kröller-Müller Museum", "Museum of Modern Art", "Nuenen", "Van Gogh Museum", "Vincent van Gogh"]}
{"id": 509, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.", "section_entities": ["Kröller-Müller Museum", "Museum of Modern Art", "Nuenen", "Van Gogh Museum", "Vincent van Gogh"]}
{"id": 510, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.", "entry": "section", "prompt": "Comment Les Mangeurs de pommes de terre explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Kröller-Müller Museum", "Museum of Modern Art", "Nuenen", "Van Gogh Museum", "Vincent van Gogh"]}
{"id": 511, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "F82JH764}}The Potato Eaters  is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.", "entry": "section", "prompt": "Dans Les Mangeurs de pommes de terre, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Kröller-Müller Museum", "Museum of Modern Art", "Nuenen", "Van Gogh Museum", "Vincent van Gogh"]}
{"id": 512, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: \"What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did\". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, \"you... had no right to condemn my work in the way you did\" , and later, \"I am always doing what I can't do yet in order to learn how to do it.\" .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.", "entry": "section", "prompt": "Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Composition.Veuillez sortir en anglais.", "section_entities": ["Anthon van Rappard", "Charles de Groux", "Nuenen"]}
{"id": 513, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: \"What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did\". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, \"you... had no right to condemn my work in the way you did\" , and later, \"I am always doing what I can't do yet in order to learn how to do it.\" .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.", "entry": "section", "prompt": "Expliquer la Composition de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.", "section_entities": ["Anthon van Rappard", "Charles de Groux", "Nuenen"]}
{"id": 514, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: \"What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did\". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, \"you... had no right to condemn my work in the way you did\" , and later, \"I am always doing what I can't do yet in order to learn how to do it.\" .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.", "entry": "section", "prompt": "Comment Les Mangeurs de pommes de terre explique-t-il sa Composition?Veuillez sortir en anglais.", "section_entities": ["Anthon van Rappard", "Charles de Groux", "Nuenen"]}
{"id": 515, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: \"What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did\". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, \"you... had no right to condemn my work in the way you did\" , and later, \"I am always doing what I can't do yet in order to learn how to do it.\" .Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the st Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.", "entry": "section", "prompt": "Dans Les Mangeurs de pommes de terre, comment est discutée la Composition?Veuillez sortir en anglais.", "section_entities": ["Anthon van Rappard", "Charles de Groux", "Nuenen"]}
{"id": 516, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks", "entry": "section", "prompt": "Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Lithographie.Veuillez sortir en anglais.", "section_entities": []}
{"id": 517, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks", "entry": "section", "prompt": "Expliquer la Lithographie de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.", "section_entities": []}
{"id": 518, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks", "entry": "section", "prompt": "Comment Les Mangeurs de pommes de terre explique-t-il sa Lithographie?Veuillez sortir en anglais.", "section_entities": []}
{"id": 519, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarks", "entry": "section", "prompt": "Dans Les Mangeurs de pommes de terre, comment est discutée la Lithographie?Veuillez sortir en anglais.", "section_entities": []}
{"id": 520, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to \"earth apple,\" which paints an idea of a simpler, hearty lifestyle.", "entry": "section", "prompt": "Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Influence de l'École de La Haye.Veuillez sortir en anglais.", "section_entities": ["Anton Mauve", "Hague School", "Jozef Israëls"]}
{"id": 521, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to \"earth apple,\" which paints an idea of a simpler, hearty lifestyle.", "entry": "section", "prompt": "Expliquer la Influence de l'École de La Haye de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.", "section_entities": ["Anton Mauve", "Hague School", "Jozef Israëls"]}
{"id": 522, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to \"earth apple,\" which paints an idea of a simpler, hearty lifestyle.", "entry": "section", "prompt": "Comment Les Mangeurs de pommes de terre explique-t-il sa Influence de l'École de La Haye?Veuillez sortir en anglais.", "section_entities": ["Anton Mauve", "Hague School", "Jozef Israëls"]}
{"id": 523, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:</ref>}}Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this  and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to \"earth apple,\" which paints an idea of a simpler, hearty lifestyle.", "entry": "section", "prompt": "Dans Les Mangeurs de pommes de terre, comment est discutée la Influence de l'École de La Haye?Veuillez sortir en anglais.", "section_entities": ["Anton Mauve", "Hague School", "Jozef Israëls"]}
{"id": 524, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.", "entry": "section", "prompt": "Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Vol.Veuillez sortir en anglais.", "section_entities": ["Kröller-Müller Museum", "Vincent van Gogh"]}
{"id": 525, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.", "entry": "section", "prompt": "Expliquer la Vol de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.", "section_entities": ["Kröller-Müller Museum", "Vincent van Gogh"]}
{"id": 526, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.", "entry": "section", "prompt": "Comment Les Mangeurs de pommes de terre explique-t-il sa Vol?Veuillez sortir en anglais.", "section_entities": ["Kröller-Müller Museum", "Vincent van Gogh"]}
{"id": 527, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.", "entry": "section", "prompt": "Dans Les Mangeurs de pommes de terre, comment est discutée la Vol?Veuillez sortir en anglais.", "section_entities": ["Kröller-Müller Museum", "Vincent van Gogh"]}
{"id": 528, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "List of works by Vincent van Gogh", "entry": "section", "prompt": "Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["List of works by Vincent van Gogh", "Vincent van Gogh"]}
{"id": 529, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "List of works by Vincent van Gogh", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.", "section_entities": ["List of works by Vincent van Gogh", "Vincent van Gogh"]}
{"id": 530, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "List of works by Vincent van Gogh", "entry": "section", "prompt": "Comment Les Mangeurs de pommes de terre explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of works by Vincent van Gogh", "Vincent van Gogh"]}
{"id": 531, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "List of works by Vincent van Gogh", "entry": "section", "prompt": "Dans Les Mangeurs de pommes de terre, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of works by Vincent van Gogh", "Vincent van Gogh"]}
{"id": 532, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,", "entry": "section", "prompt": "Concentrez-vous sur Les Mangeurs de pommes de terre et expliquez la Liensexternes.Veuillez sortir en anglais.", "section_entities": []}
{"id": 533, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,", "entry": "section", "prompt": "Expliquer la Liensexternes de cette œuvre d'art, Les Mangeurs de pommes de terre.Veuillez sortir en anglais.", "section_entities": []}
{"id": 534, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,", "entry": "section", "prompt": "Comment Les Mangeurs de pommes de terre explique-t-il sa Liensexternes?Veuillez sortir en anglais.", "section_entities": []}
{"id": 535, "title": "Les Mangeurs de pommes de terre", "en_title": "The Potato Eaters", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg/300px-Van-willem-vincent-gogh-die-kartoffelesser-03850.jpg", "reference": "The Potato Eaters , oil on canvas,  The Potato Eaters , oil on canvas,", "entry": "section", "prompt": "Dans Les Mangeurs de pommes de terre, comment est discutée la Liensexternes?Veuillez sortir en anglais.", "section_entities": []}
{"id": 536, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.", "entry": "section", "prompt": "Concentrez-vous sur Chambres de Raphaël et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Apostolic Palace", "Gianfrancesco Penni", "Giulio Romano", "High Renaissance", "Pope Leo X", "Michelangelo", "Pope", "Pope Alexander VI", "Pope Julius II", "Pope Leo X"]}
{"id": 537, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apostolic Palace", "Gianfrancesco Penni", "Giulio Romano", "High Renaissance", "Pope Leo X", "Michelangelo", "Pope", "Pope Alexander VI", "Pope Julius II", "Pope Leo X"]}
{"id": 538, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.", "entry": "section", "prompt": "Comment Chambres de Raphaël explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Apostolic Palace", "Gianfrancesco Penni", "Giulio Romano", "High Renaissance", "Pope Leo X", "Michelangelo", "Pope", "Pope Alexander VI", "Pope Julius II", "Pope Leo X"]}
{"id": 539, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "image_size=270mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=14mapframe-marker=monumentmapframe-wikidata=yesitalic title=no}}The four Raphael Rooms  form a suite of reception rooms in the Apostolic Palace, now part of the Vatican Museums, in Vatican City. They are famous for their frescoes, painted by Raphael and his workshop. Together with Michelangelo's Sistine Chapel ceiling frescoes, they are the grand fresco sequences that mark the High Renaissance in Rome.The Stanze, as they are commonly called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius' intent to outshine the apartments of his predecessor  Pope Alexander VI, as the Stanze are directly above Alexander's Borgia Apartment. They are on the second floor, overlooking the south side of the Belvedere Courtyard.Running from east to west, as a visitor would have entered the apartment, but not following the sequence in which the Stanze were frescoed, the rooms are the Sala di Costantino , the Stanza di Eliodoro , the Stanza della Segnatura , and the Stanza dell'Incendio del Borgo .After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program. Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.", "entry": "section", "prompt": "Dans Chambres de Raphaël, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Apostolic Palace", "Gianfrancesco Penni", "Giulio Romano", "High Renaissance", "Pope Leo X", "Michelangelo", "Pope", "Pope Alexander VI", "Pope Julius II", "Pope Leo X"]}
{"id": 540, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The scheme of the works is as follows:{ class=\"wikitable\" style=\"text-align:centre\"! width=\"20%\" ! width=\"20%\" ! width=\"20%\" ! width=\"20%\" -colspan=\"4\"General view --colspan=\"4\"General view --colspan=\"4\"East wall---colspan=\"4\"South wall---colspan=\"4\"West wall---colspan=\"4\"North wall---colspan=\"4\"Ceiling--}", "entry": "section", "prompt": "Concentrez-vous sur Chambres de Raphaël et expliquez la Schéma.Veuillez sortir en anglais.", "section_entities": []}
{"id": 541, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The scheme of the works is as follows:{ class=\"wikitable\" style=\"text-align:centre\"! width=\"20%\" ! width=\"20%\" ! width=\"20%\" ! width=\"20%\" -colspan=\"4\"General view --colspan=\"4\"General view --colspan=\"4\"East wall---colspan=\"4\"South wall---colspan=\"4\"West wall---colspan=\"4\"North wall---colspan=\"4\"Ceiling--}", "entry": "section", "prompt": "Expliquer la Schéma de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 542, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The scheme of the works is as follows:{ class=\"wikitable\" style=\"text-align:centre\"! width=\"20%\" ! width=\"20%\" ! width=\"20%\" ! width=\"20%\" -colspan=\"4\"General view --colspan=\"4\"General view --colspan=\"4\"East wall---colspan=\"4\"South wall---colspan=\"4\"West wall---colspan=\"4\"North wall---colspan=\"4\"Ceiling--}", "entry": "section", "prompt": "Comment Chambres de Raphaël explique-t-il sa Schéma?Veuillez sortir en anglais.", "section_entities": []}
{"id": 543, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The scheme of the works is as follows:{ class=\"wikitable\" style=\"text-align:centre\"! width=\"20%\" ! width=\"20%\" ! width=\"20%\" ! width=\"20%\" -colspan=\"4\"General view --colspan=\"4\"General view --colspan=\"4\"East wall---colspan=\"4\"South wall---colspan=\"4\"West wall---colspan=\"4\"North wall---colspan=\"4\"Ceiling--}", "entry": "section", "prompt": "Dans Chambres de Raphaël, comment est discutée la Schéma?Veuillez sortir en anglais.", "section_entities": []}
{"id": 544, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.", "entry": "section", "prompt": "Concentrez-vous sur Chambres de Raphaël et expliquez la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Gianfrancesco Penni", "Giulio Romano", "Pope"]}
{"id": 545, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.", "entry": "section", "prompt": "Expliquer la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Gianfrancesco Penni", "Giulio Romano", "Pope"]}
{"id": 546, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.", "entry": "section", "prompt": "Comment Chambres de Raphaël explique-t-il sa SaladiCostantino?Veuillez sortir en anglais.", "section_entities": ["Christianity", "Gianfrancesco Penni", "Giulio Romano", "Pope"]}
{"id": 547, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The largest of the twelve rooms is the Sala di Costantino . Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died. The room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle. Because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.", "entry": "section", "prompt": "Dans Chambres de Raphaël, comment est discutée la SaladiCostantino?Veuillez sortir en anglais.", "section_entities": ["Christianity", "Gianfrancesco Penni", "Giulio Romano", "Pope"]}
{"id": 548, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.", "entry": "section", "prompt": "Concentrez-vous sur Chambres de Raphaël et expliquez la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Attila", "Deliverance of Saint Peter", "Pope", "Pope Julius II", "Pope Leo I"]}
{"id": 549, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.", "entry": "section", "prompt": "Expliquer la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Attila", "Deliverance of Saint Peter", "Pope", "Pope Julius II", "Pope Leo I"]}
{"id": 550, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.", "entry": "section", "prompt": "Comment Chambres de Raphaël explique-t-il sa StanzadiEliodoro?Veuillez sortir en anglais.", "section_entities": ["Attila", "Deliverance of Saint Peter", "Pope", "Pope Julius II", "Pope Leo I"]}
{"id": 551, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The next room, going from East to West, is the Stanza di Eliodoro . Painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the heavenly protection granted by Christ to the Church. The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison. In the first two of these frescoes, Raphael flatteringly includes his patron, Pope Julius II, as participant or observer; the third, painted after Julius's death, includes a portrait of his successor, Leo X.Raphael's style changed here from the Stanza della Segnatura.  Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.  He represented fewer, larger figures so that their actions and emotions have more direct impact on the viewers, and he used theatrical lighting effects to spotlight certain figures and heighten tension.", "entry": "section", "prompt": "Dans Chambres de Raphaël, comment est discutée la StanzadiEliodoro?Veuillez sortir en anglais.", "section_entities": ["Attila", "Deliverance of Saint Peter", "Pope", "Pope Julius II", "Pope Leo I"]}
{"id": 552, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.", "entry": "section", "prompt": "Concentrez-vous sur Chambres de Raphaël et expliquez la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Apostolic Signatura", "Christianity"]}
{"id": 553, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.", "entry": "section", "prompt": "Expliquer la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apostolic Signatura", "Christianity"]}
{"id": 554, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.", "entry": "section", "prompt": "Comment Chambres de Raphaël explique-t-il sa Stanza della Segnatura?Veuillez sortir en anglais.", "section_entities": ["Apostolic Signatura", "Christianity"]}
{"id": 555, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Stanza della segnatura  was the first to be decorated by Raphael's frescoes. It was the study housing the library of Julius II, in which the Signatura of Grace tribunal was originally located. The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls. The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy. The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.", "entry": "section", "prompt": "Dans Chambres de Raphaël, comment est discutée la Stanza della Segnatura?Veuillez sortir en anglais.", "section_entities": ["Apostolic Signatura", "Christianity"]}
{"id": 556, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.", "entry": "section", "prompt": "Concentrez-vous sur Chambres de Raphaël et expliquez la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia", "Charlemagne", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 557, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.", "entry": "section", "prompt": "Expliquer la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia", "Charlemagne", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 558, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.", "entry": "section", "prompt": "Comment Chambres de Raphaël explique-t-il sa Stanza dell'incendio del Borgo?Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia", "Charlemagne", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 559, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Stanza dell'incendio del Borgo was named for the Fire in the Borgo fresco which depicts Pope Leo IV making the sign of the cross to extinguish a raging fire in the Borgo district of Rome near the Vatican. This room was prepared as a music room for Julius' successor, Leo X. The frescos depict events from the lives of Popes Leo III and Leo IV. The other paintings in the room are The Oath of Leo III, The Coronation of Charlemagne by Leo III, and The Battle of Ostia. Though the Fire in the Borgo was based on Raphael's mature designs it was executed by his assistants, who painted the other three paintings without his guidance.", "entry": "section", "prompt": "Dans Chambres de Raphaël, comment est discutée la Stanza dell'incendio del Borgo?Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia", "Charlemagne", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 560, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Index of Vatican City-related articlesList of paintings by Raphael", "entry": "section", "prompt": "Concentrez-vous sur Chambres de Raphaël et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["List of paintings by Raphael"]}
{"id": 561, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Index of Vatican City-related articlesList of paintings by Raphael", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["List of paintings by Raphael"]}
{"id": 562, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Index of Vatican City-related articlesList of paintings by Raphael", "entry": "section", "prompt": "Comment Chambres de Raphaël explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of paintings by Raphael"]}
{"id": 563, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Index of Vatican City-related articlesList of paintings by Raphael", "entry": "section", "prompt": "Dans Chambres de Raphaël, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of paintings by Raphael"]}
{"id": 564, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.", "entry": "section", "prompt": "Concentrez-vous sur Chambres de Raphaël et expliquez la Lectures supplémentaires.Veuillez sortir en anglais.", "section_entities": []}
{"id": 565, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.", "entry": "section", "prompt": "Expliquer la Lectures supplémentaires de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 566, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.", "entry": "section", "prompt": "Comment Chambres de Raphaël explique-t-il sa Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": []}
{"id": 567, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Rijser, David. “Tradition and Originality in Raphael: The Stanza Della Segnatura, the Middle Ages and Local Traditions.” The Quest for an Appropriate Past in Literature, Art and Architecture, edited by Karl A.E. Enenkel and Konrad A. Ottenheym, vol. 60, Brill, LEIDEN; BOSTON, 2019, pp. 106–126. JSTOR, www.jstor.org/stable/10.1163/j.ctvbqs5nk.11. Accessed 24 Mar. 2021.", "entry": "section", "prompt": "Dans Chambres de Raphaël, comment est discutée la Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": []}
{"id": 568, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Vision de la Croix et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 569, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Expliquer la La Vision de la Croix concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 570, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Vision de la Croix de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 571, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Vision de la Croix dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 572, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Bataille du Pont Milvius et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": []}
{"id": 573, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Expliquer la La Bataille du Pont Milvius concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 574, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Bataille du Pont Milvius de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 575, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Bataille du Pont Milvius dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 576, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Baptême de Constantin et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 577, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Expliquer la Le Baptême de Constantin concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 578, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Baptême de Constantin de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 579, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Baptême de Constantin dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 580, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Donation de Constantin et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 581, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Expliquer la La Donation de Constantin concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 582, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Donation de Constantin de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 583, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Donation de Constantin dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 584, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la L'Expulsion d'Héliodore du Temple et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": []}
{"id": 585, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Expliquer la L'Expulsion d'Héliodore du Temple concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 586, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la L'Expulsion d'Héliodore du Temple de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 587, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la L'Expulsion d'Héliodore du Temple dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 588, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Messe à Bolsena et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 589, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Expliquer la La Messe à Bolsena concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 590, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Messe à Bolsena de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 591, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Messe à Bolsena dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 592, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Rencontre de Léon le Grand et Attila et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 593, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Expliquer la La Rencontre de Léon le Grand et Attila concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 594, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Rencontre de Léon le Grand et Attila de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 595, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Rencontre de Léon le Grand et Attila dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 596, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Délivrance de Saint Pierre et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 597, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Expliquer la Délivrance de Saint Pierre concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 598, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Délivrance de Saint Pierre de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 599, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Délivrance de Saint Pierre dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 600, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Dispute du Saint-Sacrement et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 601, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Expliquer la Dispute du Saint-Sacrement concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 602, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Dispute du Saint-Sacrement de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 603, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Dispute du Saint-Sacrement dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 604, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la LeParnasse et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 605, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Expliquer la LeParnasse concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 606, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la LeParnasse de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 607, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la LeParnasse dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 608, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la L'École d'Athènes et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 609, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Expliquer la L'École d'Athènes concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 610, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la L'École d'Athènes de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 611, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la L'École d'Athènes dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 612, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la LesVertusCardinales et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": []}
{"id": 613, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Expliquer la LesVertusCardinales concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 614, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la LesVertusCardinales de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 615, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la LesVertusCardinales dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 616, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Serment de Léon III et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 617, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Expliquer la Le Serment de Léon III concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 618, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Serment de Léon III de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 619, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Serment de Léon III dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 620, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Couronnement de Charlemagne et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 621, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Expliquer la Le Couronnement de Charlemagne concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 622, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Couronnement de Charlemagne de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 623, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Couronnement de Charlemagne dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 624, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la IncendieauBorgo et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 625, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Expliquer la IncendieauBorgo concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 626, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la IncendieauBorgo de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 627, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la IncendieauBorgo dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 628, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Bataille d'Ostie et la SaladiCostantino.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 629, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Expliquer la La Bataille d'Ostie concernant la SaladiCostantino de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 630, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Bataille d'Ostie de la SaladiCostantino est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 631, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Bataille d'Ostie dans la SaladiCostantino de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 632, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Vision de la Croix et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 633, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Expliquer la La Vision de la Croix concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 634, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Vision de la Croix de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 635, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Vision de la Croix dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 636, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Bataille du Pont Milvius et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": []}
{"id": 637, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Expliquer la La Bataille du Pont Milvius concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 638, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Bataille du Pont Milvius de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 639, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Bataille du Pont Milvius dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 640, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Baptême de Constantin et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 641, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Expliquer la Le Baptême de Constantin concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 642, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Baptême de Constantin de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 643, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Baptême de Constantin dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 644, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Donation de Constantin et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 645, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Expliquer la La Donation de Constantin concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 646, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Donation de Constantin de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 647, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Donation de Constantin dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 648, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la L'Expulsion d'Héliodore du Temple et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": []}
{"id": 649, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Expliquer la L'Expulsion d'Héliodore du Temple concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 650, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la L'Expulsion d'Héliodore du Temple de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 651, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la L'Expulsion d'Héliodore du Temple dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 652, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Messe à Bolsena et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 653, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Expliquer la La Messe à Bolsena concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 654, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Messe à Bolsena de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 655, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Messe à Bolsena dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 656, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Rencontre de Léon le Grand et Attila et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 657, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Expliquer la La Rencontre de Léon le Grand et Attila concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 658, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Rencontre de Léon le Grand et Attila de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 659, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Rencontre de Léon le Grand et Attila dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 660, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Délivrance de Saint Pierre et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 661, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Expliquer la Délivrance de Saint Pierre concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 662, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Délivrance de Saint Pierre de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 663, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Délivrance de Saint Pierre dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 664, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Dispute du Saint-Sacrement et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 665, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Expliquer la Dispute du Saint-Sacrement concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 666, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Dispute du Saint-Sacrement de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 667, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Dispute du Saint-Sacrement dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 668, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la LeParnasse et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 669, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Expliquer la LeParnasse concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 670, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la LeParnasse de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 671, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la LeParnasse dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 672, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la L'École d'Athènes et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 673, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Expliquer la L'École d'Athènes concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 674, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la L'École d'Athènes de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 675, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la L'École d'Athènes dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 676, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la LesVertusCardinales et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": []}
{"id": 677, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Expliquer la LesVertusCardinales concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 678, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la LesVertusCardinales de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 679, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la LesVertusCardinales dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 680, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Serment de Léon III et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 681, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Expliquer la Le Serment de Léon III concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 682, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Serment de Léon III de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 683, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Serment de Léon III dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 684, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Couronnement de Charlemagne et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 685, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Expliquer la Le Couronnement de Charlemagne concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 686, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Couronnement de Charlemagne de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 687, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Couronnement de Charlemagne dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 688, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la IncendieauBorgo et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 689, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Expliquer la IncendieauBorgo concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 690, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la IncendieauBorgo de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 691, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la IncendieauBorgo dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 692, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Bataille d'Ostie et la StanzadiEliodoro.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 693, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Expliquer la La Bataille d'Ostie concernant la StanzadiEliodoro de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 694, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Bataille d'Ostie de la StanzadiEliodoro est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 695, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Bataille d'Ostie dans la StanzadiEliodoro de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 696, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Vision de la Croix et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 697, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Expliquer la La Vision de la Croix concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 698, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Vision de la Croix de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 699, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Vision de la Croix dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 700, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Bataille du Pont Milvius et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": []}
{"id": 701, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Expliquer la La Bataille du Pont Milvius concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 702, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Bataille du Pont Milvius de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 703, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Bataille du Pont Milvius dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 704, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Baptême de Constantin et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 705, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Expliquer la Le Baptême de Constantin concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 706, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Baptême de Constantin de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 707, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Baptême de Constantin dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 708, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Donation de Constantin et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 709, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Expliquer la La Donation de Constantin concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 710, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Donation de Constantin de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 711, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Donation de Constantin dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 712, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la L'Expulsion d'Héliodore du Temple et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": []}
{"id": 713, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Expliquer la L'Expulsion d'Héliodore du Temple concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 714, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la L'Expulsion d'Héliodore du Temple de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 715, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la L'Expulsion d'Héliodore du Temple dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 716, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Messe à Bolsena et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 717, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Expliquer la La Messe à Bolsena concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 718, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Messe à Bolsena de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 719, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Messe à Bolsena dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 720, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Rencontre de Léon le Grand et Attila et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 721, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Expliquer la La Rencontre de Léon le Grand et Attila concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 722, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Rencontre de Léon le Grand et Attila de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 723, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Rencontre de Léon le Grand et Attila dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 724, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Délivrance de Saint Pierre et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 725, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Expliquer la Délivrance de Saint Pierre concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 726, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Délivrance de Saint Pierre de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 727, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Délivrance de Saint Pierre dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 728, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Dispute du Saint-Sacrement et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 729, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Expliquer la Dispute du Saint-Sacrement concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 730, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Dispute du Saint-Sacrement de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 731, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Dispute du Saint-Sacrement dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 732, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la LeParnasse et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 733, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Expliquer la LeParnasse concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 734, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la LeParnasse de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 735, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la LeParnasse dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 736, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la L'École d'Athènes et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 737, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Expliquer la L'École d'Athènes concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 738, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la L'École d'Athènes de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 739, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la L'École d'Athènes dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 740, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la LesVertusCardinales et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": []}
{"id": 741, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Expliquer la LesVertusCardinales concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 742, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la LesVertusCardinales de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 743, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la LesVertusCardinales dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 744, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Serment de Léon III et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 745, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Expliquer la Le Serment de Léon III concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 746, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Serment de Léon III de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 747, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Serment de Léon III dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 748, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Couronnement de Charlemagne et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 749, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Expliquer la Le Couronnement de Charlemagne concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 750, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Couronnement de Charlemagne de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 751, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Couronnement de Charlemagne dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 752, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la IncendieauBorgo et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 753, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Expliquer la IncendieauBorgo concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 754, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la IncendieauBorgo de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 755, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la IncendieauBorgo dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 756, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Bataille d'Ostie et la Stanza della Segnatura.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 757, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Expliquer la La Bataille d'Ostie concernant la Stanza della Segnatura de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 758, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Bataille d'Ostie de la Stanza della Segnatura est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 759, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Bataille d'Ostie dans la Stanza della Segnatura de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 760, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Vision de la Croix et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 761, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Expliquer la La Vision de la Croix concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 762, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Vision de la Croix de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 763, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek \"Εν τούτω νίκα\"  written next to it.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Vision de la Croix dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Maxentius"]}
{"id": 764, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Bataille du Pont Milvius et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": []}
{"id": 765, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Expliquer la La Bataille du Pont Milvius concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 766, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Bataille du Pont Milvius de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 767, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Milvian Bridge shows the battle that took place on October 28, 312, following Constantine's vision.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Bataille du Pont Milvius dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 768, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Baptême de Constantin et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 769, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Expliquer la Le Baptême de Constantin concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 770, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Baptême de Constantin de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 771, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The third painting in the sequence, The Baptism of Constantine, was most likely painted by Gianfrancesco Penni, and shows the emperor being baptised by Pope Sylvester I in the teran Baptistery at Rome. This follows the account of Constantine's baptism given in the Acts of Sylvester and the Liber Pontificalis, rather than the alternate deathbed version recounted in Eusebius's Life of Constantine. In The Baptism of Constantine, Pope Sylvester I has the physical features of Pope Clement VII , who ordered the completion of the Raphael Rooms.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Baptême de Constantin dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Acts of Sylvester", "Pope Clement VII", "Eusebius", "Gianfrancesco Penni", "Liber Pontificalis", "Life of Constantine", "Pope", "Pope Clement VII", "Pope Sylvester I"]}
{"id": 772, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Donation de Constantin et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 773, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Expliquer la La Donation de Constantin concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 774, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Donation de Constantin de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 775, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe final painting in the sequence, The Donation of Constantine, records an event that supposedly took place shortly after Constantine's baptism, and was inspired by the famous forged documents, incorporated into Gratian's Decretum, granting the Papacy sovereignty over Rome's territorial dominions.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Donation de Constantin dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Donation of Constantine"]}
{"id": 776, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la L'Expulsion d'Héliodore du Temple et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": []}
{"id": 777, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Expliquer la L'Expulsion d'Héliodore du Temple concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 778, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la L'Expulsion d'Héliodore du Temple de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 779, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerIn The Expulsion of Heliodorus from the Temple Raphael illustrated the biblical episode from II Maccabees  about Heliodorus, who was sent to seize the treasure preserved in the Temple in Jerusalem, but was stopped when the prayer of the priest of the temple was answered by angels who flogged the intruder and an angelic rider who chased him from the temple. The composition is considerably more dramatic than Raphael's earlier frescoes in the Stanza della Segnatura.  Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.  At the left Julius II, carried by the Swiss Guard in a chair, witnesses the event.  His inclusion here refers to his battles to prevent secular leaders from usurping papal territories.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la L'Expulsion d'Héliodore du Temple dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 780, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Messe à Bolsena et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 781, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Expliquer la La Messe à Bolsena concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 782, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Messe à Bolsena de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 783, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Mass at Bolsena depicts the story of a Bohemian priest who in 1263 ceased to doubt the doctrine of Transubstantiation when he saw the bread begin to bleed during its consecration at Mass. The cloth that was stained by the blood was held as a relic at the nearby town of Orvieto; Julius II had visited Orvieto and prayed over the relic in 1506. The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia  standing behind him. Raphael distinguishes the \"real\" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Messe à Bolsena dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Orvieto", "Pope"]}
{"id": 784, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Rencontre de Léon le Grand et Attila et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 785, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Expliquer la La Rencontre de Léon le Grand et Attila concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 786, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Rencontre de Léon le Grand et Attila de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 787, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Meeting of Leo the Great and Attila depicts the storied parley between the Pope and the Hun conqueror, and includes the legendary images of Saint Peter and Saint Paul in the sky bearing swords. A fully developed drawing by Raphael indicates he planned to place the pope – portrayed with Julius's features – in the background; when Leo X became pope – and just happened to choose the name Leo – he must have encouraged the artist to bring the pope front and center and use his own portrait.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Rencontre de Léon le Grand et Attila dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Attila", "Pope"]}
{"id": 788, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Délivrance de Saint Pierre et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 789, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Expliquer la Délivrance de Saint Pierre concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 790, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Délivrance de Saint Pierre de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 791, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The Deliverance of Saint Peter shows, in three episodes, how Saint Peter was liberated from prison by an angel, as described in Acts 12.  It symbolizes the power of the Vicar of Christ to escape human restraints. Julius II's titular church as cardinal, before he was elevated to the papacy, had been S. Pietro in Vincoli , so the painting is at once a general reference to the papacy and a specific reference to Julius.  The fresco is a study in light:  natural moonlight, man-made torchlight, and God-provided angel light.  It is the latter, of course, that outshines the others.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Délivrance de Saint Pierre dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Deliverance of Saint Peter"]}
{"id": 792, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Dispute du Saint-Sacrement et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 793, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Expliquer la Dispute du Saint-Sacrement concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 794, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Dispute du Saint-Sacrement de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 795, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The first composition Raphael executed between 1509 and 1510 was the Disputation of the Holy Sacrament, the traditional name for what is really an Adoration of the Sacrament. In the painting, Raphael created an image of the church, which is presented as spanning both heaven and earth.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Dispute du Saint-Sacrement dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Disputation of the Holy Sacrament"]}
{"id": 796, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la LeParnasse et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 797, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Expliquer la LeParnasse concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 798, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la LeParnasse de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 799, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Raphael completed the second composition between 1509 and 1511. It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth. In the fresco Apollo and the Muses are surrounded by poets from antiquity and Raphael's own time.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la LeParnasse dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Apollo"]}
{"id": 800, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la L'École d'Athènes et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 801, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Expliquer la L'École d'Athènes concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 802, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la L'École d'Athènes de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 803, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "Between 1509 and 1511, Raphael also completed another work on the wall opposite the Disputa. This third painting, entitled The School of Athens, represents the degrees of knowledge or the truth acquired through reason. The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity. It was meant to reside over the philosophical section of Pope Julius II's library. It is perhaps Raphael's most famous fresco.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la L'École d'Athènes dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Christianity", "Pope", "Pope Julius II"]}
{"id": 804, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la LesVertusCardinales et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": []}
{"id": 805, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Expliquer la LesVertusCardinales concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 806, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la LesVertusCardinales de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 807, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "The two scenes on the fourth wall, executed by the workshop, and the lunette above it, containing the Cardinal Virtues, were painted in 1511. The Cardinal Virtues allegorically presents the virtues of fortitude, prudence and temperance alongside charity, faith, and hope.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la LesVertusCardinales dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": []}
{"id": 808, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Serment de Léon III et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 809, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Expliquer la Le Serment de Léon III concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 810, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Serment de Léon III de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 811, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerOn December 23, 800 AD, Pope Leo III took an oath of purgation concerning charges brought against him by the nephews of his predecessor Pope Hadrian I. This event is shown in The Oath of Leo III.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Serment de Léon III dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Pope", "Pope Leo I", "Pope Leo III"]}
{"id": 812, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la Le Couronnement de Charlemagne et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 813, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Expliquer la Le Couronnement de Charlemagne concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 814, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la Le Couronnement de Charlemagne de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 815, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Coronation of Charlemagne shows how Charlemagne was crowned Imperator Romanorum on Christmas Day, 800.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Le Couronnement de Charlemagne dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Charlemagne"]}
{"id": 816, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la IncendieauBorgo et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 817, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Expliquer la IncendieauBorgo concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 818, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la IncendieauBorgo de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 819, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Fire in the Borgo shows an event that is documented in the Liber Pontificalis: a fire that broke out in the Borgo in Rome in 847. According to the Catholic Church, Pope Leo IV contained the fire with his benediction.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la IncendieauBorgo dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Catholic Church", "Liber Pontificalis", "Pope", "Pope Leo I", "Pope Leo IV"]}
{"id": 820, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Dans le contexte de Chambres de Raphaël, expliquez la La Bataille d'Ostie et la Stanza dell'incendio del Borgo.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 821, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Expliquer la La Bataille d'Ostie concernant la Stanza dell'incendio del Borgo de cette œuvre d'art, Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 822, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Dans Chambres de Raphaël, comment la La Bataille d'Ostie de la Stanza dell'incendio del Borgo est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 823, "title": "Chambres de Raphaël", "en_title": "Raphael Rooms", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Raffael_Stanza_della_Segnatura.jpg/270px-Raffael_Stanza_della_Segnatura.jpg", "reference": "centerThe Battle of Ostia was inspired by the naval victory of Leo IV over the Saracens at Ostia in 849.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La Bataille d'Ostie dans la Stanza dell'incendio del Borgo de Chambres de Raphaël.Veuillez sortir en anglais.", "section_entities": ["Battle of Ostia"]}
{"id": 824, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.", "entry": "section", "prompt": "Concentrez-vous sur Madonna Benois et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Alte Pinakothek", "Hermitage Museum", "Italian Renaissance", "Leonardo da Vinci", "Madonna of the Carnation", "Munich", "Saint Petersburg"]}
{"id": 825, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Madonna Benois.Veuillez sortir en anglais.", "section_entities": ["Alte Pinakothek", "Hermitage Museum", "Italian Renaissance", "Leonardo da Vinci", "Madonna of the Carnation", "Munich", "Saint Petersburg"]}
{"id": 826, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.", "entry": "section", "prompt": "Comment Madonna Benois explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Alte Pinakothek", "Hermitage Museum", "Italian Renaissance", "Leonardo da Vinci", "Madonna of the Carnation", "Munich", "Saint Petersburg"]}
{"id": 827, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "1478–1480 medium=Oil on canvas height_metric=49.5 width_metric=33 city=Saint Petersburg museum=Hermitage Museum}}The Benois Madonna, otherwise known as the Madonna and Child with Flowers, is a painting by the Italian Renaissance master Leonardo da Vinci in the Hermitage Museum, Saint Petersburg. One of two Madonnas begun by Leonardo in October 1478, it was completed  1478–1480; the other was the Madonna of the Carnation, now in the Alte Pinakothek, Munich.", "entry": "section", "prompt": "Dans Madonna Benois, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Alte Pinakothek", "Hermitage Museum", "Italian Renaissance", "Leonardo da Vinci", "Madonna of the Carnation", "Munich", "Saint Petersburg"]}
{"id": 828, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.", "entry": "section", "prompt": "Concentrez-vous sur Madonna Benois et expliquez la Histoire.Veuillez sortir en anglais.", "section_entities": ["Andrea del Verrocchio", "Astrakhan", "Bernard Berenson", "British Museum", "Ernst Friedrich von Liphart", "Hermitage Museum", "Italy", "Leon Benois", "Madonna of the Pinks", "National Gallery", "October Revolution", "Raphael", "Saint Petersburg"]}
{"id": 829, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.", "entry": "section", "prompt": "Expliquer la Histoire de cette œuvre d'art, Madonna Benois.Veuillez sortir en anglais.", "section_entities": ["Andrea del Verrocchio", "Astrakhan", "Bernard Berenson", "British Museum", "Ernst Friedrich von Liphart", "Hermitage Museum", "Italy", "Leon Benois", "Madonna of the Pinks", "National Gallery", "October Revolution", "Raphael", "Saint Petersburg"]}
{"id": 830, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.", "entry": "section", "prompt": "Comment Madonna Benois explique-t-il sa Histoire?Veuillez sortir en anglais.", "section_entities": ["Andrea del Verrocchio", "Astrakhan", "Bernard Berenson", "British Museum", "Ernst Friedrich von Liphart", "Hermitage Museum", "Italy", "Leon Benois", "Madonna of the Pinks", "National Gallery", "October Revolution", "Raphael", "Saint Petersburg"]}
{"id": 831, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "It is likely that the Benois Madonna was the first work painted by Leonardo independently from his master Andrea del Verrocchio. Two of Leonardo's preliminary sketches for this work are in the British Museum, although the painting was probably overpainted by other hands. The preliminary sketches and the painting itself suggest that Leonardo was concentrating on the idea of sight and perspective. The child is thought to be guiding his mother's hands into his central vision.The Benois Madonna has proved to be one of Leonardo's most popular works. It was extensively copied by young painters, including Raphael in his Madonna of the Pinks in the National Gallery, London.For centuries, the painting was presumed to have been lost, then found, then lost, then found, then lost. It had in fact been acquired in Italy by the Russian artillery general and art connoisseur   in the 1790s. Upon Korsakov's death, his son sold it for the sum of 1,400 roubles to the Astrakhan fishing merchant Alexander Petrovich Sapozhnikov, who had his own art gallery; it was then passed on to his wealthy philanthropist son Alexander Alexendrovich Sapozhnikov . Finally, when his daughter Maria Sapozhnikova  married the architect Leon Benois , the painting became part of the inheritance of the Benois family. In 1909, the painting was sensationally exhibited in Saint Petersburg as part of the Benois collection. In 1912, the Benois family considered selling the painting and requested an appraisal from the London art dealer Joseph Duveen, who gave an evaluation of 500,000 francs. The art historian Bernard Berenson made disparaging comments about the painting, raising doubts about its authenticity:Despite these wrangles about attribution, however, the Benois Madonna was eventually sold to the Imperial Hermitage Museum in 1914 for a record amount. The purchase was made by Ernst Friedrich von Liphart, then curator of paintings at the Hermitage, who identified da Vinci as the artist. The payments were made in installments, continuing even after the 1917 October Revolution.Since 1914 the painting has been exhibited in the Hermitage Museum, Saint Petersburg.", "entry": "section", "prompt": "Dans Madonna Benois, comment est discutée la Histoire?Veuillez sortir en anglais.", "section_entities": ["Andrea del Verrocchio", "Astrakhan", "Bernard Berenson", "British Museum", "Ernst Friedrich von Liphart", "Hermitage Museum", "Italy", "Leon Benois", "Madonna of the Pinks", "National Gallery", "October Revolution", "Raphael", "Saint Petersburg"]}
{"id": 832, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.", "entry": "section", "prompt": "Concentrez-vous sur Madonna Benois et expliquez la Description et interprétation.Veuillez sortir en anglais.", "section_entities": []}
{"id": 833, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.", "entry": "section", "prompt": "Expliquer la Description et interprétation de cette œuvre d'art, Madonna Benois.Veuillez sortir en anglais.", "section_entities": []}
{"id": 834, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.", "entry": "section", "prompt": "Comment Madonna Benois explique-t-il sa Description et interprétation?Veuillez sortir en anglais.", "section_entities": []}
{"id": 835, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "upright=1This small painting shows a dark room with the Virgin seated on a bench with her Child outstretched on her lap. Her young rounded face is lively; she is clothed in an olive and brown raiment, with brown and blue underwear covering her knees. The amply proportioned Christ Child grasps a cruciform sprig of flowers which the Virgin is holding. The faces of the vividly coloured figures are crowned with delicately gilded haloes. In an otherwise dark interior, a double-arched aperture gives a glimpse on to pale blue skies.", "entry": "section", "prompt": "Dans Madonna Benois, comment est discutée la Description et interprétation?Veuillez sortir en anglais.", "section_entities": []}
{"id": 836, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "Marian art in the Catholic Church List of works by Leonardo da Vinci", "entry": "section", "prompt": "Concentrez-vous sur Madonna Benois et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Leonardo da Vinci", "List of works by Leonardo da Vinci", "Marian art in the Catholic Church"]}
{"id": 837, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "Marian art in the Catholic Church List of works by Leonardo da Vinci", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Madonna Benois.Veuillez sortir en anglais.", "section_entities": ["Leonardo da Vinci", "List of works by Leonardo da Vinci", "Marian art in the Catholic Church"]}
{"id": 838, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "Marian art in the Catholic Church List of works by Leonardo da Vinci", "entry": "section", "prompt": "Comment Madonna Benois explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Leonardo da Vinci", "List of works by Leonardo da Vinci", "Marian art in the Catholic Church"]}
{"id": 839, "title": "Madonna Benois", "en_title": "Benois Madonna", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Leonardo%2C_Madonna_Benois.JPG/270px-Leonardo%2C_Madonna_Benois.JPG", "reference": "Marian art in the Catholic Church List of works by Leonardo da Vinci", "entry": "section", "prompt": "Dans Madonna Benois, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Leonardo da Vinci", "List of works by Leonardo da Vinci", "Marian art in the Catholic Church"]}
{"id": 840, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.", "entry": "section", "prompt": "Concentrez-vous sur Le Serment des Horaces et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["3", "Alba Longa", "Jacques-Louis David", "Livy", "Louvre", "Livy"]}
{"id": 841, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.", "section_entities": ["3", "Alba Longa", "Jacques-Louis David", "Livy", "Louvre", "Livy"]}
{"id": 842, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.", "entry": "section", "prompt": "Comment Le Serment des Horaces explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["3", "Alba Longa", "Jacques-Louis David", "Livy", "Louvre", "Livy"]}
{"id": 843, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "Oath of the Horatii  is a large painting by the French artist Jacques-Louis David painted in 1784 and 1785 and now on display in the Louvre in Paris. The painting immediately became a huge success with critics and the public and remains one of the best-known paintings in the Neoclassical style.It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city.  From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, Of the three Horatii brothers, only one will survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying while sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, whatever happens, she will lose someone she loves. Seeing her weep, the surviving brother, Publius, kills Camilla for weeping over the enemy.The principal sources for the story behind David's Oath are the first book of Livy  which was elaborated by Dionysius in book 3 of his Roman Antiquities. However, the moment depicted in David's painting is his own invention.", "entry": "section", "prompt": "Dans Le Serment des Horaces, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["3", "Alba Longa", "Jacques-Louis David", "Livy", "Louvre", "Livy"]}
{"id": 844, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.", "entry": "section", "prompt": "Concentrez-vous sur Le Serment des Horaces et expliquez la Mise en service du travail.Veuillez sortir en anglais.", "section_entities": ["French Revolution", "Louvre", "Prix de Rome", "The Lictors Bring to Brutus the Bodies of His Sons"]}
{"id": 845, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.", "entry": "section", "prompt": "Expliquer la Mise en service du travail de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.", "section_entities": ["French Revolution", "Louvre", "Prix de Rome", "The Lictors Bring to Brutus the Bodies of His Sons"]}
{"id": 846, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.", "entry": "section", "prompt": "Comment Le Serment des Horaces explique-t-il sa Mise en service du travail?Veuillez sortir en anglais.", "section_entities": ["French Revolution", "Louvre", "Prix de Rome", "The Lictors Bring to Brutus the Bodies of His Sons"]}
{"id": 847, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la Maladie d’Antiochius. This allowed him to stay five years  in Rome as a student of the French government. Upon his return to Paris, he exhibited his work, which Diderot greatly admired; the success was so resounding that King Louis XVI of France allowed him to stay in the Louvre, a privilege greatly desired by artists. There he met Pecoul, the contractor for the actual buildings, and Pecoul's daughter, whom he married. The king's assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state and therefore to the king. Nevertheless, David departed from the agreed-upon scene, painting this scene instead. Although the painting studies were begun in Paris, it was not painted in Paris, but in Rome, where David was visited by his pupil Jean-Germaine Drouais who had himself recently won the Prix de Rome. Ultimately, David's picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to loyalty to the state rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the political tensions of the period.In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, a picture that was also a royal commission. Shortly afterward, the king went up to the scaffold also accused of treason, as the sons of Brutus, and with the vote of the artist in the National Assembly, which supported the execution of Louis XVI.", "entry": "section", "prompt": "Dans Le Serment des Horaces, comment est discutée la Mise en service du travail?Veuillez sortir en anglais.", "section_entities": ["French Revolution", "Louvre", "Prix de Rome", "The Lictors Bring to Brutus the Bodies of His Sons"]}
{"id": 848, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}", "entry": "section", "prompt": "Concentrez-vous sur Le Serment des Horaces et expliquez la Thème symbolique.Veuillez sortir en anglais.", "section_entities": ["Alba Longa", "Lucius Junius Brutus", "The Lictors Bring to Brutus the Bodies of His Sons", "Voltaire"]}
{"id": 849, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}", "entry": "section", "prompt": "Expliquer la Thème symbolique de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.", "section_entities": ["Alba Longa", "Lucius Junius Brutus", "The Lictors Bring to Brutus the Bodies of His Sons", "Voltaire"]}
{"id": 850, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}", "entry": "section", "prompt": "Comment Le Serment des Horaces explique-t-il sa Thème symbolique?Veuillez sortir en anglais.", "section_entities": ["Alba Longa", "Lucius Junius Brutus", "The Lictors Bring to Brutus the Bodies of His Sons", "Voltaire"]}
{"id": 851, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "The painting depicts the Roman Horatius family, who, according to Titus Livius' Ab Urbe Condita  had been chosen for a ritual duel against three members of the Curiatii, a family from Alba Longa, in order to settle disputes between the Romans and the latter city. As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty. With their resolute gaze and taut, outstretched limbs, they are citadels of patriotism. They are symbols of the highest virtues of Rome. Their clarity of purpose, mirrored by David's simple yet powerful use of tonal contrasts, lends the painting, and its message about the nobility of patriotic sacrifice, an electric intensity. This is all in contrast to the tender-hearted women who lie weeping and mourning, awaiting the results of the fighting.The mother and sisters are shown clothed in silken garments seemingly melting into tender expressions of sorrow. Their despair is partly because one sister was engaged to one of the Curiatii and another is a sister of the Curiatii, married to one of the Horatii. Upon the defeat of the Curiatii, the remaining Horatius journeyed home to find his sister cursing Rome over the death of her fiancé. He killed her, horrified that Rome was being cursed. Originally David had intended to depict this episode, and a drawing survives showing the surviving Horatius raising his sword, with his sister lying dead. David later decided that this subject was too gruesome a way of sending the message of public duty overcoming private feeling, but his next major painting, The Lictors Bring to Brutus the Bodies of His Sons depicted a similar scene - Lucius Junius Brutus brooding as the bodies of his sons, whose executions for treason he had ordered, are returned home.  This was a subject the tragedy Brutus by Voltaire had made familiar to the French. The painting shows the three brothers on the left, the Horatii father in the center, and the three women along with two children on the right.  The Horatii brothers are depicted swearing upon  their swords as they take their oath. The men show no sense of emotion. Even the father, who holds up three swords, shows no emotion. On the right, three women are weeping—one in the back and two up closer. The woman dressed in the white is a Horatius weeping for both her Curiatii fiancé and her brother; the one dressed in brown is a Curiatius who weeps for her Horatii husband and her brother. The background woman in black holds two children—one of whom is the child of a Horatius male and his Curiatii wife. The younger daughter hides her face in her nanny's dress as the son refuses to have his eyes shielded.According to Thomas Le Claire: - Le Claire, Thomas - Kunsthandel XVII</ref>}}", "entry": "section", "prompt": "Dans Le Serment des Horaces, comment est discutée la Thème symbolique?Veuillez sortir en anglais.", "section_entities": ["Alba Longa", "Lucius Junius Brutus", "The Lictors Bring to Brutus the Bodies of His Sons", "Voltaire"]}
{"id": 852, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.", "entry": "section", "prompt": "Concentrez-vous sur Le Serment des Horaces et expliquez la Technique de composition.Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment", "Rococo"]}
{"id": 853, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.", "entry": "section", "prompt": "Expliquer la Technique de composition de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment", "Rococo"]}
{"id": 854, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.", "entry": "section", "prompt": "Comment Le Serment des Horaces explique-t-il sa Technique de composition?Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment", "Rococo"]}
{"id": 855, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "This painting shows the neoclassical art style, and employs various techniques that were typical of it:The background is de-emphasized, while the figures in the foreground are emphasized.Overlapping ranks of profile figures are a common motif in classical art, and that of ancient Near Eastern cultures. The central point of the hand clasping the swords is placed in front of the vanishing point of the perspective scheme, which is emphasized by the straight lines of the edges of the wall blocks and floor slabs of the architectural setting leading to it . The use of dull colors is to show the importance of the story behind the painting over the painting itself.The picture is organized, depicting the symbolism of the number three and of the moment itself.The focus on clear, hard details and the lack of use of the more wispy brushstrokes preferred by Rococo art.The brushstrokes are invisible, and the painter's technique is not displayed as a distraction from the subjectThe men are all depicted with straight lines mirroring the columns in the background signifying their rigidity and strength while the women are all curved like the arches which are held up by the columns.The use of straight lines to depict strength is also demonstrated in the swords, two of which are curved while one is straight, perhaps foreshadowing that only one brother would survive the encounter.The frozen quality of the painting is also intended to emphasize rationality, unlike the Rococo style.That it depicts a morally uplifting story, promoting civic duty over the personal, reflects the values of the Age of Enlightenment and neoclassical idealism.", "entry": "section", "prompt": "Dans Le Serment des Horaces, comment est discutée la Technique de composition?Veuillez sortir en anglais.", "section_entities": ["Age of Enlightenment", "Rococo"]}
{"id": 856, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.", "entry": "section", "prompt": "Concentrez-vous sur Le Serment des Horaces et expliquez la Réception.Veuillez sortir en anglais.", "section_entities": []}
{"id": 857, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.", "entry": "section", "prompt": "Expliquer la Réception de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.", "section_entities": []}
{"id": 858, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.", "entry": "section", "prompt": "Comment Le Serment des Horaces explique-t-il sa Réception?Veuillez sortir en anglais.", "section_entities": []}
{"id": 859, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "David first exhibited the painting in Rome, where even the Pope requested a viewing.The painting was exhibited in France at the Salon of 1785, but it was delivered late. David's enemies at the Academy took advantage of the delay to exhibit the painting in a poor locale in the gallery. The public's dissatisfaction with the painting's poor viewing conditions obliged the gallery to move it to a more prominent location.", "entry": "section", "prompt": "Dans Le Serment des Horaces, comment est discutée la Réception?Veuillez sortir en anglais.", "section_entities": []}
{"id": 860, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "List of paintings by Jacques-Louis David", "entry": "section", "prompt": "Concentrez-vous sur Le Serment des Horaces et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "List of paintings by Jacques-Louis David"]}
{"id": 861, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "List of paintings by Jacques-Louis David", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Le Serment des Horaces.Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "List of paintings by Jacques-Louis David"]}
{"id": 862, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "List of paintings by Jacques-Louis David", "entry": "section", "prompt": "Comment Le Serment des Horaces explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "List of paintings by Jacques-Louis David"]}
{"id": 863, "title": "Le Serment des Horaces", "en_title": "Oath of the Horatii", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg/350px-Jacques-Louis_David%2C_Le_Serment_des_Horaces.jpg", "reference": "List of paintings by Jacques-Louis David", "entry": "section", "prompt": "Dans Le Serment des Horaces, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "List of paintings by Jacques-Louis David"]}
{"id": 864, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.", "entry": "section", "prompt": "Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Baroque", "Cornaro family", "Gian Lorenzo Bernini", "Rome", "Teresa of Ávila", "Teresa of Ávila"]}
{"id": 865, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.", "section_entities": ["Baroque", "Cornaro family", "Gian Lorenzo Bernini", "Rome", "Teresa of Ávila", "Teresa of Ávila"]}
{"id": 866, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.", "entry": "section", "prompt": "Comment L'Extase de sainte Thérèse explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Baroque", "Cornaro family", "Gian Lorenzo Bernini", "Rome", "Teresa of Ávila", "Teresa of Ávila"]}
{"id": 867, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "type               = Sculpture material           = Marble dimensions         = Life-size city               = Rome museum             = Santa Maria della Vittoria coordinates        = mapframe-frame-width=270mapframe=yesmapframe-caption=Click on the map for a fullscreen viewmapframe-zoom=12mapframe-marker=monumentmapframe-wikidata=yes preceded_by        = Raimondi Chapel followed_by        = Truth Unveiled by Time }}The Ecstasy of Saint Teresa  is a sculptural altarpiece group in white marble set in an elevated aedicule in the Cornaro Chapel of the church of Santa Maria della Vittoria in Rome.  It was designed and carved by Gian Lorenzo Bernini, the leading sculptor of his day, who also designed the setting of the chapel in marble, stucco and paint. The commission was completed in 1652.The ensemble includes at the sides two sets of donor portraits of members of the Cornaro family, who watch the main central group as though in boxes in a theatre.  The group is generally considered to be one of the sculptural masterpieces of the High Roman Baroque. The sculpture over the altar shows Saint Teresa of Ávila, a Spanish Carmelite nun , swooning in a state of religious ecstasy, while an angel holding a spear stands over her, following her own account of a vision she had.", "entry": "section", "prompt": "Dans L'Extase de sainte Thérèse, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Baroque", "Cornaro family", "Gian Lorenzo Bernini", "Rome", "Teresa of Ávila", "Teresa of Ávila"]}
{"id": 868, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.", "entry": "section", "prompt": "Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Commission.Veuillez sortir en anglais.", "section_entities": ["Carmelites", "Discalced Carmelites", "Hermitage Museum"]}
{"id": 869, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.", "entry": "section", "prompt": "Expliquer la Commission de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.", "section_entities": ["Carmelites", "Discalced Carmelites", "Hermitage Museum"]}
{"id": 870, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.", "entry": "section", "prompt": "Comment L'Extase de sainte Thérèse explique-t-il sa Commission?Veuillez sortir en anglais.", "section_entities": ["Carmelites", "Discalced Carmelites", "Hermitage Museum"]}
{"id": 871, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X. When Innocent acceded to the papal throne, he shunned Bernini's artistic services; the sculptor had been the favourite artist of the previous and profligate Barberini pope, Urban VIII. Without papal patronage, the services of Bernini's studio were therefore available to a patron such as the Venetian Cardinal Federico Cornaro .Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel. The selected site for the chapel was the left transept that had previously held an image of 'St. Paul in Ecstasy', which was replaced by Bernini's dramatization of a religious experience undergone and related by the first Discalced Carmelite saint, who had been canonised not long before, in 1622. It was completed in 1652 for the then princely sum of 12,000 scudi.</ref>}}A small format terracotta model of about  was created between 1644 and 1647. The sculpture represents the first embodiment of the project, with traces of Bernini's fingerprints still visible. The model belongs to the Hermitage Museum's collection.", "entry": "section", "prompt": "Dans L'Extase de sainte Thérèse, comment est discutée la Commission?Veuillez sortir en anglais.", "section_entities": ["Carmelites", "Discalced Carmelites", "Hermitage Museum"]}
{"id": 872, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said \"the transverberation becomes a point of contact between earth and heaven, between matter and spirit\". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: \"Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance.\"", "entry": "section", "prompt": "Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Interprétations.Veuillez sortir en anglais.", "section_entities": ["Cornaro family", "Franco Mormando"]}
{"id": 873, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said \"the transverberation becomes a point of contact between earth and heaven, between matter and spirit\". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: \"Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance.\"", "entry": "section", "prompt": "Expliquer la Interprétations de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.", "section_entities": ["Cornaro family", "Franco Mormando"]}
{"id": 874, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said \"the transverberation becomes a point of contact between earth and heaven, between matter and spirit\". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: \"Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance.\"", "entry": "section", "prompt": "Comment L'Extase de sainte Thérèse explique-t-il sa Interprétations?Veuillez sortir en anglais.", "section_entities": ["Cornaro family", "Franco Mormando"]}
{"id": 875, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure as both intentional and influential on artists and writers of the day. Irving vin said \"the transverberation becomes a point of contact between earth and heaven, between matter and spirit\". As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies  and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: \"Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance.\"", "entry": "section", "prompt": "Dans L'Extase de sainte Thérèse, comment est discutée la Interprétations?Veuillez sortir en anglais.", "section_entities": ["Cornaro family", "Franco Mormando"]}
{"id": 876, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The sexual implications of the work have not gone unnoticed. It is considered \"decidely risqué\"; \"the most astounding peep show in art\"; and \"the grossest and most offensive example of Baroque art.\" The reason for its popularity \"has a lot to do with sex.\" And by placing the sculpture in a theatrical setting, Bernini is accused of turning \"a private moment into a very publicspectacle.\"Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says \"none of these defenses are completely accurate.\"", "entry": "section", "prompt": "Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Critique.Veuillez sortir en anglais.", "section_entities": ["Baroque", "Franco Mormando"]}
{"id": 877, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The sexual implications of the work have not gone unnoticed. It is considered \"decidely risqué\"; \"the most astounding peep show in art\"; and \"the grossest and most offensive example of Baroque art.\" The reason for its popularity \"has a lot to do with sex.\" And by placing the sculpture in a theatrical setting, Bernini is accused of turning \"a private moment into a very publicspectacle.\"Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says \"none of these defenses are completely accurate.\"", "entry": "section", "prompt": "Expliquer la Critique de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.", "section_entities": ["Baroque", "Franco Mormando"]}
{"id": 878, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The sexual implications of the work have not gone unnoticed. It is considered \"decidely risqué\"; \"the most astounding peep show in art\"; and \"the grossest and most offensive example of Baroque art.\" The reason for its popularity \"has a lot to do with sex.\" And by placing the sculpture in a theatrical setting, Bernini is accused of turning \"a private moment into a very publicspectacle.\"Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says \"none of these defenses are completely accurate.\"", "entry": "section", "prompt": "Comment L'Extase de sainte Thérèse explique-t-il sa Critique?Veuillez sortir en anglais.", "section_entities": ["Baroque", "Franco Mormando"]}
{"id": 879, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "The sexual implications of the work have not gone unnoticed. It is considered \"decidely risqué\"; \"the most astounding peep show in art\"; and \"the grossest and most offensive example of Baroque art.\" The reason for its popularity \"has a lot to do with sex.\" And by placing the sculpture in a theatrical setting, Bernini is accused of turning \"a private moment into a very publicspectacle.\"Scholars who defend it against such criticism take one of three approaches, saying:# Bernini faithfully followed Teresa’s description of the experience.# The Church accepted that mystical union often involved erotic elements.# There is no nudity in the statue.But Franco Mormando says \"none of these defenses are completely accurate.\"", "entry": "section", "prompt": "Dans L'Extase de sainte Thérèse, comment est discutée la Critique?Veuillez sortir en anglais.", "section_entities": ["Baroque", "Franco Mormando"]}
{"id": 880, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.", "entry": "section", "prompt": "Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Œuvres similaires par Bernini.Veuillez sortir en anglais.", "section_entities": ["Baroque", "Blessed Ludovica Albertoni", "Galleria Borghese", "Rome", "San Francesco a Ripa"]}
{"id": 881, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.", "entry": "section", "prompt": "Expliquer la Œuvres similaires par Bernini de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.", "section_entities": ["Baroque", "Blessed Ludovica Albertoni", "Galleria Borghese", "Rome", "San Francesco a Ripa"]}
{"id": 882, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.", "entry": "section", "prompt": "Comment L'Extase de sainte Thérèse explique-t-il sa Œuvres similaires par Bernini?Veuillez sortir en anglais.", "section_entities": ["Baroque", "Blessed Ludovica Albertoni", "Galleria Borghese", "Rome", "San Francesco a Ripa"]}
{"id": 883, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "See also entry titled Bernini's Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome. Martyrdom of Saint wrence  Truth Unveiled by Time  – Galleria Borghese, Rome.", "entry": "section", "prompt": "Dans L'Extase de sainte Thérèse, comment est discutée la Œuvres similaires par Bernini?Veuillez sortir en anglais.", "section_entities": ["Baroque", "Blessed Ludovica Albertoni", "Galleria Borghese", "Rome", "San Francesco a Ripa"]}
{"id": 884, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third \"Altar of Science\" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song \"The Lie\" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.", "entry": "section", "prompt": "Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Influencer ou influencé fonctionne.Veuillez sortir en anglais.", "section_entities": ["Abraham Verghese", "Angels & Demons", "Banksy", "Cutting for Stone", "Dan Brown", "David Foster Wallace", "Ercole Ferrata", "Illuminati", "Infinite Jest", "Peter Hammill", "Pope Urban VIII", "Rome", "Stefano Maderno", "Street art", "The Silent Corner and the Empty Stage"]}
{"id": 885, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third \"Altar of Science\" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song \"The Lie\" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.", "entry": "section", "prompt": "Expliquer la Influencer ou influencé fonctionne de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.", "section_entities": ["Abraham Verghese", "Angels & Demons", "Banksy", "Cutting for Stone", "Dan Brown", "David Foster Wallace", "Ercole Ferrata", "Illuminati", "Infinite Jest", "Peter Hammill", "Pope Urban VIII", "Rome", "Stefano Maderno", "Street art", "The Silent Corner and the Empty Stage"]}
{"id": 886, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third \"Altar of Science\" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song \"The Lie\" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.", "entry": "section", "prompt": "Comment L'Extase de sainte Thérèse explique-t-il sa Influencer ou influencé fonctionne?Veuillez sortir en anglais.", "section_entities": ["Abraham Verghese", "Angels & Demons", "Banksy", "Cutting for Stone", "Dan Brown", "David Foster Wallace", "Ercole Ferrata", "Illuminati", "Infinite Jest", "Peter Hammill", "Pope Urban VIII", "Rome", "Stefano Maderno", "Street art", "The Silent Corner and the Empty Stage"]}
{"id": 887, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "Stefano Maderno's sculpture of St Cecilia in namesake church . Melchiorre Caffà's Santa Rose of Lima  and his Assumption of St Catherine. Francisco Aprile and Ercole Ferrata's Sant'Anastasia in her namesake church in Rome. The most internationally successful Czech underground group the Ecstasy of Saint Theresa named themselves after the sculpture. Angels & Demons, the novel by Dan Brown which lists the sculpture as the third \"Altar of Science\" of the fictionalized Illuminati. Brown's book incorrectly states that the sculpture was moved from the Vatican to its current location, and that Pope Urban VIII  found the statue too sexually explicit.  The sculpture is the subject of the song \"The Lie\" from Peter Hammill's album The Silent Corner and the Empty Stage. In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. The sculpture and its image are frequently referred to in the novel Cutting for Stone by Abraham Verghese. In the psychoanalytic theories of Jacques can, the statue plays an important role due to a central reference in his book Seminar XX: Encore. can believes the statue helps convey his theory of the possibility of a female enjoyment that is infinite and unknowable, while masculine enjoyment is defined by finitude and failure. Some book covers of Seminar XX have a picture of the statue on the front.", "entry": "section", "prompt": "Dans L'Extase de sainte Thérèse, comment est discutée la Influencer ou influencé fonctionne?Veuillez sortir en anglais.", "section_entities": ["Abraham Verghese", "Angels & Demons", "Banksy", "Cutting for Stone", "Dan Brown", "David Foster Wallace", "Ercole Ferrata", "Illuminati", "Infinite Jest", "Peter Hammill", "Pope Urban VIII", "Rome", "Stefano Maderno", "Street art", "The Silent Corner and the Empty Stage"]}
{"id": 888, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "List of works by Gian Lorenzo Bernini", "entry": "section", "prompt": "Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Gian Lorenzo Bernini", "List of works by Gian Lorenzo Bernini"]}
{"id": 889, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "List of works by Gian Lorenzo Bernini", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.", "section_entities": ["Gian Lorenzo Bernini", "List of works by Gian Lorenzo Bernini"]}
{"id": 890, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "List of works by Gian Lorenzo Bernini", "entry": "section", "prompt": "Comment L'Extase de sainte Thérèse explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Gian Lorenzo Bernini", "List of works by Gian Lorenzo Bernini"]}
{"id": 891, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": "List of works by Gian Lorenzo Bernini", "entry": "section", "prompt": "Dans L'Extase de sainte Thérèse, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Gian Lorenzo Bernini", "List of works by Gian Lorenzo Bernini"]}
{"id": 892, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": ";Notes;Citations;Sources", "entry": "section", "prompt": "Concentrez-vous sur L'Extase de sainte Thérèse et expliquez la Références.Veuillez sortir en anglais.", "section_entities": []}
{"id": 893, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": ";Notes;Citations;Sources", "entry": "section", "prompt": "Expliquer la Références de cette œuvre d'art, L'Extase de sainte Thérèse.Veuillez sortir en anglais.", "section_entities": []}
{"id": 894, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": ";Notes;Citations;Sources", "entry": "section", "prompt": "Comment L'Extase de sainte Thérèse explique-t-il sa Références?Veuillez sortir en anglais.", "section_entities": []}
{"id": 895, "title": "L'Extase de sainte Thérèse", "en_title": "Ecstasy of Saint Teresa", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Ecstasy_of_Saint_Teresa_September_2015-2a.jpg/220px-Ecstasy_of_Saint_Teresa_September_2015-2a.jpg", "reference": ";Notes;Citations;Sources", "entry": "section", "prompt": "Dans L'Extase de sainte Thérèse, comment est discutée la Références?Veuillez sortir en anglais.", "section_entities": []}
{"id": 896, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.", "entry": "section", "prompt": "Concentrez-vous sur L'Église d'Auvers-sur-Oise et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Auvers-sur-Oise", "Musée d'Orsay", "Paris", "Vincent van Gogh"]}
{"id": 897, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, L'Église d'Auvers-sur-Oise.Veuillez sortir en anglais.", "section_entities": ["Auvers-sur-Oise", "Musée d'Orsay", "Paris", "Vincent van Gogh"]}
{"id": 898, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.", "entry": "section", "prompt": "Comment L'Église d'Auvers-sur-Oise explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Auvers-sur-Oise", "Musée d'Orsay", "Paris", "Vincent van Gogh"]}
{"id": 899, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "catalogue          = F789JH2006 height_metric      = 74 width_metric       = 94 height_imperial    = 37 width_imperial     = 29.1 city               = Paris museum             = Musée d'Orsay url                = }}The Church at Auvers is an oil painting created by Dutch post-impressionist artist Vincent van Gogh in June 1890 which now hangs in the Musée d'Orsay in Paris, France.The painting depicts the  in Auvers-sur-Oise, France,  north-west of Paris.", "entry": "section", "prompt": "Dans L'Église d'Auvers-sur-Oise, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Auvers-sur-Oise", "Musée d'Orsay", "Paris", "Vincent van Gogh"]}
{"id": 900, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote \"While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North.\"He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The \"simple deep blue\" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and \"neither reflects nor emanates any light of its own.\" After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize \"empty and unenlightened preaching\": \"Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'\"The motif of diverging paths also appears in his painting Wheat Field with Crows.", "entry": "section", "prompt": "Concentrez-vous sur L'Église d'Auvers-sur-Oise et expliquez la Histoire.Veuillez sortir en anglais.", "section_entities": ["Auvers-sur-Oise", "Borinage", "Cuesmes", "Henry IV, Part 1", "Nuenen", "Portrait of Adeline Ravoux", "Saint-Rémy-de-Provence", "The Town Hall at Auvers"]}
{"id": 901, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote \"While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North.\"He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The \"simple deep blue\" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and \"neither reflects nor emanates any light of its own.\" After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize \"empty and unenlightened preaching\": \"Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'\"The motif of diverging paths also appears in his painting Wheat Field with Crows.", "entry": "section", "prompt": "Expliquer la Histoire de cette œuvre d'art, L'Église d'Auvers-sur-Oise.Veuillez sortir en anglais.", "section_entities": ["Auvers-sur-Oise", "Borinage", "Cuesmes", "Henry IV, Part 1", "Nuenen", "Portrait of Adeline Ravoux", "Saint-Rémy-de-Provence", "The Town Hall at Auvers"]}
{"id": 902, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote \"While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North.\"He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The \"simple deep blue\" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and \"neither reflects nor emanates any light of its own.\" After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize \"empty and unenlightened preaching\": \"Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'\"The motif of diverging paths also appears in his painting Wheat Field with Crows.", "entry": "section", "prompt": "Comment L'Église d'Auvers-sur-Oise explique-t-il sa Histoire?Veuillez sortir en anglais.", "section_entities": ["Auvers-sur-Oise", "Borinage", "Cuesmes", "Henry IV, Part 1", "Nuenen", "Portrait of Adeline Ravoux", "Saint-Rémy-de-Provence", "The Town Hall at Auvers"]}
{"id": 903, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "The Church at Auvers — along with other canvases such as The Town Hall at Auvers and several drawings of small houses with thatched roofs — is reminiscent of scenes from his Nuenen period.  A certain nostalgia for the north had already been apparent in his last weeks in Saint-Rémy-de-Provence: in a letter written a couple of weeks before his departure, he wrote \"While I was ill I nevertheless did some little canvases from memory which you will see later, memories of the North.\"He specifically refers to similar work done back at Nuenen when he describes this painting in a letter to his sister Wilhelmina on 5 June 1890:</ref>}}The \"simple deep blue\" was also used in Portrait of Adeline Ravoux, painted in the same short period in Auvers-sur-Oise.The foreground of The Church at Auvers is brightly lit by the sun, but the church itself sits in its own shadow, and \"neither reflects nor emanates any light of its own.\" After Van Gogh had been dismissed from the evangelical career he had hoped to continue in the Borinage, Belgium, he wrote to his brother Theo from Cuesmes in July 1880, and quoted Shakespeare's image from Henry IV, Part 1 of the dark emptiness inside a church to symbolize \"empty and unenlightened preaching\": \"Their God is like the God of Shakespeare's drunken Falstaff, 'the inside of a church'\"The motif of diverging paths also appears in his painting Wheat Field with Crows.", "entry": "section", "prompt": "Dans L'Église d'Auvers-sur-Oise, comment est discutée la Histoire?Veuillez sortir en anglais.", "section_entities": ["Auvers-sur-Oise", "Borinage", "Cuesmes", "Henry IV, Part 1", "Nuenen", "Portrait of Adeline Ravoux", "Saint-Rémy-de-Provence", "The Town Hall at Auvers"]}
{"id": 904, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "The Church at Auvers plays a prominent role in \"Vincent and the Doctor\", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.", "entry": "section", "prompt": "Concentrez-vous sur L'Église d'Auvers-sur-Oise et expliquez la Danslaculturepopulaire.Veuillez sortir en anglais.", "section_entities": ["Doctor Who", "Llandaff Cathedral", "Vincent and the Doctor"]}
{"id": 905, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "The Church at Auvers plays a prominent role in \"Vincent and the Doctor\", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.", "entry": "section", "prompt": "Expliquer la Danslaculturepopulaire de cette œuvre d'art, L'Église d'Auvers-sur-Oise.Veuillez sortir en anglais.", "section_entities": ["Doctor Who", "Llandaff Cathedral", "Vincent and the Doctor"]}
{"id": 906, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "The Church at Auvers plays a prominent role in \"Vincent and the Doctor\", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.", "entry": "section", "prompt": "Comment L'Église d'Auvers-sur-Oise explique-t-il sa Danslaculturepopulaire?Veuillez sortir en anglais.", "section_entities": ["Doctor Who", "Llandaff Cathedral", "Vincent and the Doctor"]}
{"id": 907, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "The Church at Auvers plays a prominent role in \"Vincent and the Doctor\", a 2010 episode of the British science-fiction television programme Doctor Who, although the scenes at the church were filmed at Llandaff Cathedral in Wales.", "entry": "section", "prompt": "Dans L'Église d'Auvers-sur-Oise, comment est discutée la Danslaculturepopulaire?Veuillez sortir en anglais.", "section_entities": ["Doctor Who", "Llandaff Cathedral", "Vincent and the Doctor"]}
{"id": 908, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "List of works by Vincent van Gogh", "entry": "section", "prompt": "Concentrez-vous sur L'Église d'Auvers-sur-Oise et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["List of works by Vincent van Gogh", "Vincent van Gogh"]}
{"id": 909, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "List of works by Vincent van Gogh", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, L'Église d'Auvers-sur-Oise.Veuillez sortir en anglais.", "section_entities": ["List of works by Vincent van Gogh", "Vincent van Gogh"]}
{"id": 910, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "List of works by Vincent van Gogh", "entry": "section", "prompt": "Comment L'Église d'Auvers-sur-Oise explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of works by Vincent van Gogh", "Vincent van Gogh"]}
{"id": 911, "title": "L'Église d'Auvers-sur-Oise", "en_title": "The Church at Auvers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg/220px-Vincent_van_Gogh_-_The_Church_in_Auvers-sur-Oise%2C_View_from_the_Chevet_-_Google_Art_Project.jpg", "reference": "List of works by Vincent van Gogh", "entry": "section", "prompt": "Dans L'Église d'Auvers-sur-Oise, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of works by Vincent van Gogh", "Vincent van Gogh"]}
{"id": 912, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.", "entry": "section", "prompt": "Concentrez-vous sur The Sphere et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Austin J. Tobin", "John F. Kennedy International Airport", "Liberty Park", "New York City", "Port Authority of New York and New Jersey", "September 11 attacks"]}
{"id": 913, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.", "section_entities": ["Austin J. Tobin", "John F. Kennedy International Airport", "Liberty Park", "New York City", "Port Authority of New York and New Jersey", "September 11 attacks"]}
{"id": 914, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.", "entry": "section", "prompt": "Comment The Sphere explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Austin J. Tobin", "John F. Kennedy International Airport", "Liberty Park", "New York City", "Port Authority of New York and New Jersey", "September 11 attacks"]}
{"id": 915, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The world's largest bronze sculpture of modern times stood between the Twin Towers on the Austin J. Tobin Plaza of the World Trade Center in New York City from 1972 until the September 11 attacks. The work, weighing more than 20 tons, was the only remaining work of art to be recovered largely intact from the ruins of the collapsed Twin Towers. After being dismantled and stored near a hangar at John F. Kennedy International Airport, the sculpture was the subject of the 2001 documentary Koenig's Sphere. Since then, the bronze sphere has become a memorial for the attacks.The sculpture was installed in Battery Park between 2002 and 2017, when the Port Authority of New York and New Jersey moved it to Liberty Park, overlooking the September 11 Memorial and its original location. The sculpture, rededicated at its permanent location on August 16, 2017, has been kept in the badly damaged condition it was found in after the September 11 attacks.", "entry": "section", "prompt": "Dans The Sphere, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Austin J. Tobin", "John F. Kennedy International Airport", "Liberty Park", "New York City", "Port Authority of New York and New Jersey", "September 11 attacks"]}
{"id": 916, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his \"biggest child\".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to \"world peace through trade\". The original name \"Große Kugelkaryatide N.Y.\" did not catch on with the New Yorkers. They called the spherical sculpture \"Koenig Sphere\" or simply \"The Sphere\".", "entry": "section", "prompt": "Concentrez-vous sur The Sphere et expliquez la Œuvre d'art.Veuillez sortir en anglais.", "section_entities": ["Bremen", "Caryatid", "Fritz Koenig", "Minoru Yamasaki", "Port Authority of New York and New Jersey", "Technical University of Munich"]}
{"id": 917, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his \"biggest child\".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to \"world peace through trade\". The original name \"Große Kugelkaryatide N.Y.\" did not catch on with the New Yorkers. They called the spherical sculpture \"Koenig Sphere\" or simply \"The Sphere\".", "entry": "section", "prompt": "Expliquer la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.", "section_entities": ["Bremen", "Caryatid", "Fritz Koenig", "Minoru Yamasaki", "Port Authority of New York and New Jersey", "Technical University of Munich"]}
{"id": 918, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his \"biggest child\".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to \"world peace through trade\". The original name \"Große Kugelkaryatide N.Y.\" did not catch on with the New Yorkers. They called the spherical sculpture \"Koenig Sphere\" or simply \"The Sphere\".", "entry": "section", "prompt": "Comment The Sphere explique-t-il sa Œuvre d'art?Veuillez sortir en anglais.", "section_entities": ["Bremen", "Caryatid", "Fritz Koenig", "Minoru Yamasaki", "Port Authority of New York and New Jersey", "Technical University of Munich"]}
{"id": 919, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y.   dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States. After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring  high, with a diameter of , the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water  per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is  high and has a diameter of . Koenig called it his \"biggest child\".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near ndshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to \"world peace through trade\". The original name \"Große Kugelkaryatide N.Y.\" did not catch on with the New Yorkers. They called the spherical sculpture \"Koenig Sphere\" or simply \"The Sphere\".", "entry": "section", "prompt": "Dans The Sphere, comment est discutée la Œuvre d'art?Veuillez sortir en anglais.", "section_entities": ["Bremen", "Caryatid", "Fritz Koenig", "Minoru Yamasaki", "Port Authority of New York and New Jersey", "Technical University of Munich"]}
{"id": 920, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "Plop art Artwork damaged or destroyed in the September 11 attacks", "entry": "section", "prompt": "Concentrez-vous sur The Sphere et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Artwork damaged or destroyed in the September 11 attacks", "Plop art", "September 11 attacks"]}
{"id": 921, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "Plop art Artwork damaged or destroyed in the September 11 attacks", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.", "section_entities": ["Artwork damaged or destroyed in the September 11 attacks", "Plop art", "September 11 attacks"]}
{"id": 922, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "Plop art Artwork damaged or destroyed in the September 11 attacks", "entry": "section", "prompt": "Comment The Sphere explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Artwork damaged or destroyed in the September 11 attacks", "Plop art", "September 11 attacks"]}
{"id": 923, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "Plop art Artwork damaged or destroyed in the September 11 attacks", "entry": "section", "prompt": "Dans The Sphere, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Artwork damaged or destroyed in the September 11 attacks", "Plop art", "September 11 attacks"]}
{"id": 924, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "width  = 240px image1 =  image2 = }} Holger A. Klein:", "entry": "section", "prompt": "Concentrez-vous sur The Sphere et expliquez la Liensexternes.Veuillez sortir en anglais.", "section_entities": []}
{"id": 925, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "width  = 240px image1 =  image2 = }} Holger A. Klein:", "entry": "section", "prompt": "Expliquer la Liensexternes de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.", "section_entities": []}
{"id": 926, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "width  = 240px image1 =  image2 = }} Holger A. Klein:", "entry": "section", "prompt": "Comment The Sphere explique-t-il sa Liensexternes?Veuillez sortir en anglais.", "section_entities": []}
{"id": 927, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "width  = 240px image1 =  image2 = }} Holger A. Klein:", "entry": "section", "prompt": "Dans The Sphere, comment est discutée la Liensexternes?Veuillez sortir en anglais.", "section_entities": []}
{"id": 928, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it \"a beautiful corpse\".", "entry": "subsection", "prompt": "Dans le contexte de The Sphere, expliquez la Immédiatement après les attaques et la Œuvre d'art.Veuillez sortir en anglais.", "section_entities": ["John F. Kennedy International Airport", "New York metropolitan area", "Percy Adlon", "September 11 attacks"]}
{"id": 929, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it \"a beautiful corpse\".", "entry": "subsection", "prompt": "Expliquer la Immédiatement après les attaques concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.", "section_entities": ["John F. Kennedy International Airport", "New York metropolitan area", "Percy Adlon", "September 11 attacks"]}
{"id": 930, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it \"a beautiful corpse\".", "entry": "subsection", "prompt": "Dans The Sphere, comment la Immédiatement après les attaques de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["John F. Kennedy International Airport", "New York metropolitan area", "Percy Adlon", "September 11 attacks"]}
{"id": 931, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "After the September 11 attacks, upon recovery from the rubble pile the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel  at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it \"a beautiful corpse\".", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Immédiatement après les attaques dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.", "section_entities": ["John F. Kennedy International Airport", "New York metropolitan area", "Percy Adlon", "September 11 attacks"]}
{"id": 932, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. \"It was a sculpture, now it's a monument\", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. \"It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it.\"A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}", "entry": "subsection", "prompt": "Dans le contexte de The Sphere, expliquez la Relocalisation à Battery Park et la Œuvre d'art.Veuillez sortir en anglais.", "section_entities": ["Michael Bloomberg", "Rudy Giuliani"]}
{"id": 933, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. \"It was a sculpture, now it's a monument\", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. \"It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it.\"A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}", "entry": "subsection", "prompt": "Expliquer la Relocalisation à Battery Park concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.", "section_entities": ["Michael Bloomberg", "Rudy Giuliani"]}
{"id": 934, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. \"It was a sculpture, now it's a monument\", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. \"It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it.\"A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}", "entry": "subsection", "prompt": "Dans The Sphere, comment la Relocalisation à Battery Park de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Michael Bloomberg", "Rudy Giuliani"]}
{"id": 935, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. \"It was a sculpture, now it's a monument\", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. \"It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it.\"A plaque alongside The Sphere read as follows:This eternal flame was ignited on September 11, 2002 in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.}}", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Relocalisation à Battery Park dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.", "section_entities": ["Michael Bloomberg", "Rudy Giuliani"]}
{"id": 936, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.", "entry": "subsection", "prompt": "Dans le contexte de The Sphere, expliquez la Relocalisation à Liberty Park et la Œuvre d'art.Veuillez sortir en anglais.", "section_entities": ["90 West Street", "Liberty Park", "Port Authority of New York and New Jersey", "World Trade Center site"]}
{"id": 937, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.", "entry": "subsection", "prompt": "Expliquer la Relocalisation à Liberty Park concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.", "section_entities": ["90 West Street", "Liberty Park", "Port Authority of New York and New Jersey", "World Trade Center site"]}
{"id": 938, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.", "entry": "subsection", "prompt": "Dans The Sphere, comment la Relocalisation à Liberty Park de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["90 West Street", "Liberty Park", "Port Authority of New York and New Jersey", "World Trade Center site"]}
{"id": 939, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey , which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures . Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Relocalisation à Liberty Park dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.", "section_entities": ["90 West Street", "Liberty Park", "Port Authority of New York and New Jersey", "World Trade Center site"]}
{"id": 940, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , 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 origin and talks about transience and the transformation of art following the attacks.", "entry": "subsection", "prompt": "Dans le contexte de The Sphere, expliquez la Documentaire et la Œuvre d'art.Veuillez sortir en anglais.", "section_entities": ["Fritz Koenig", "Percy Adlon", "September 11 attacks"]}
{"id": 941, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , 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 origin and talks about transience and the transformation of art following the attacks.", "entry": "subsection", "prompt": "Expliquer la Documentaire concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.", "section_entities": ["Fritz Koenig", "Percy Adlon", "September 11 attacks"]}
{"id": 942, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , 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 origin and talks about transience and the transformation of art following the attacks.", "entry": "subsection", "prompt": "Dans The Sphere, comment la Documentaire de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Fritz Koenig", "Percy Adlon", "September 11 attacks"]}
{"id": 943, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "In his documentary Koenigs Kugel - der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero , 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 origin and talks about transience and the transformation of art following the attacks.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Documentaire dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.", "section_entities": ["Fritz Koenig", "Percy Adlon", "September 11 attacks"]}
{"id": 944, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "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.", "entry": "subsection", "prompt": "Dans le contexte de The Sphere, expliquez la Livre et la Œuvre d'art.Veuillez sortir en anglais.", "section_entities": []}
{"id": 945, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "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.", "entry": "subsection", "prompt": "Expliquer la Livre concernant la Œuvre d'art de cette œuvre d'art, The Sphere.Veuillez sortir en anglais.", "section_entities": []}
{"id": 946, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "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.", "entry": "subsection", "prompt": "Dans The Sphere, comment la Livre de la Œuvre d'art est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 947, "title": "The Sphere", "en_title": "The Sphere", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/The_sphere.jpg/270px-The_sphere.jpg", "reference": "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.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Livre dans la Œuvre d'art de The Sphere.Veuillez sortir en anglais.", "section_entities": []}
{"id": 948, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, \"It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content.\" Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case \"an undisguised hedonism had at last dispelled the Platonic metaphors\".", "entry": "section", "prompt": "Concentrez-vous sur Vénus d'Urbin et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Edgar Wind", "Florence", "Giorgione", "Renaissance", "Titian", "Uffizi"]}
{"id": 949, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, \"It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content.\" Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case \"an undisguised hedonism had at last dispelled the Platonic metaphors\".", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.", "section_entities": ["Edgar Wind", "Florence", "Giorgione", "Renaissance", "Titian", "Uffizi"]}
{"id": 950, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, \"It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content.\" Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case \"an undisguised hedonism had at last dispelled the Platonic metaphors\".", "entry": "section", "prompt": "Comment Vénus d'Urbin explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Edgar Wind", "Florence", "Giorgione", "Renaissance", "Titian", "Uffizi"]}
{"id": 951, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "medium        = Oil on canvas height_metric = 119 width_metric  = 165 metric_unit   = cm imperial_unit = in city          = Florence museum        = Uffizi}}The Venus of Urbino  is an oil painting by Italian painter Titian, depicting a nude young woman, traditionally identified with the goddess Venus, reclining on a couch or bed in the sumptuous surroundings of a Renaissance palace. Work on the painting seems to have begun anywhere from 1532 or 1534, and was perhaps completed in 1534, but not sold until 1538. It is currently held in the Galleria degli Uffizi in Florence.The figure's pose is based on the Dresden Venus, traditionally attributed to Giorgione but for which Titian at least completed the landscape. In his own painting, Titian has moved Venus to an indoor setting, engaged her with the viewer, and made her sensuality explicit; some even believe the figure is engaging in masturbation.Interpretations of the painting fall into two groups; both agree that the painting has a powerful erotic charge, but beyond that, it is seen either as a portrait of a courtesan, perhaps Zaffetta, or as a painting celebrating the marriage of its first owner . This disagreement forms part of a wider debate on the meaning of the mainly Venetian tradition of the reclining female nude, which Titian had created, or helped to create, some 25 years before with the Dresden Venus of around 1510–11. For Charles Hope, \"It has yet to be shown that the most famous example of this genre, Titian's Venus of Urbino, is anything other than a representation of a beautiful nude woman on a bed, devoid of classical or even allegorical content.\" Even the indefatigable finder of allegories drawing on Renaissance Neoplatonism, Edgar Wind, had to admit that in this case \"an undisguised hedonism had at last dispelled the Platonic metaphors\".", "entry": "section", "prompt": "Dans Vénus d'Urbin, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Edgar Wind", "Florence", "Giorgione", "Renaissance", "Titian", "Uffizi"]}
{"id": 952, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as \"the nude woman\", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand \"caressing\" her genitals as such a reference, as it was believed at the time that a female \"emission\" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.", "entry": "section", "prompt": "Concentrez-vous sur Vénus d'Urbin et expliquez la Description.Veuillez sortir en anglais.", "section_entities": ["Duchy of Urbino", "Duke of Camerino", "Duchy of Urbino", "Fernando d'Ávalos", "Guidobaldo II della Rovere", "Ippolito de' Medici", "Józef Grabski", "Pesaro", "Pope Clement VII", "Titian", "Venice", "Vittoria Colonna"]}
{"id": 953, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as \"the nude woman\", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand \"caressing\" her genitals as such a reference, as it was believed at the time that a female \"emission\" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.", "entry": "section", "prompt": "Expliquer la Description de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.", "section_entities": ["Duchy of Urbino", "Duke of Camerino", "Duchy of Urbino", "Fernando d'Ávalos", "Guidobaldo II della Rovere", "Ippolito de' Medici", "Józef Grabski", "Pesaro", "Pope Clement VII", "Titian", "Venice", "Vittoria Colonna"]}
{"id": 954, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as \"the nude woman\", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand \"caressing\" her genitals as such a reference, as it was believed at the time that a female \"emission\" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.", "entry": "section", "prompt": "Comment Vénus d'Urbin explique-t-il sa Description?Veuillez sortir en anglais.", "section_entities": ["Duchy of Urbino", "Duke of Camerino", "Duchy of Urbino", "Fernando d'Ávalos", "Guidobaldo II della Rovere", "Ippolito de' Medici", "Józef Grabski", "Pesaro", "Pope Clement VII", "Titian", "Venice", "Vittoria Colonna"]}
{"id": 955, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "The painting's subject stares straight at the viewer, not embarrassed by her nudity. In her right hand, she holds a posy of roses, while she holds her other hand over her genitals. In the near background is a dog, often a symbol of fidelity. In a different space in the background two maids are shown rummaging through a cassone chest, where clothes were often kept.The detailed depiction of the interior setting is unusual, perhaps unique, for a Titian painting. Titian did work for the 21-year-old Ippolito de' Medici, reluctantly made a cardinal  by his uncle, Pope Clement VII. He was trying to pursue a military career, and was a papal diplomat. On 20 October 1532, he spent the night in Venice with Angela del Moro, or Angela Zaffetta, a leading courtesan in Venice and occasional dining companion of Titian and Aretino, the latter a friend of the cardinal. Titian painted Ippolito's portrait, and it seems likely that he was asked to add a nude portrait of Angela Zaffetta, or that Titian decided to paint one in the hope he would like it.On 20 December 1534, Titian wrote to Ippolito's chamberlain in Rome saying that he had been working on a painting of a woman for the cardinal. Ippolito died in August 1535, and apparently never saw the painting, which was still in Titian's studio when Guidobaldo II della Rovere, the 24-year-old son of the Duke of Urbino came in January 1538 to sit for a portrait. As letters from him and his mother show, he was extremely keen to buy it, and did so some months later; he referred to it simply as \"the nude woman\", and was worried Titian would sell it to someone else. ter that year he inherited the Duchy of Urbino on the death of his father, hence the painting acquired the name by which it is most commonly known, although it seems it was mostly kept in Pesaro.Alternatively, the painting may have been commissioned by Guidobaldo, possibly to celebrate his marriage in 1534 to the 10-year-old Giulia Varano, which made him Duke of Camerino, or its consummation, which was probably a few years later. Some critics have seen references to marriage in details such as the maids at the cassone, where the corredo or trousseau of clothes generally given to the bride by her husband's family were stored. Rona Goffen sees Venus's hand \"caressing\" her genitals as such a reference, as it was believed at the time that a female \"emission\" or orgasm was necessary for conception to take place, and female masturbation was therefore allowed only in cases where the male had ejaculated and withdrawn. The production of heirs was of great concern in elite marriages. Even the little dog on the bed has been brought into the argument; an identical dog is shown in Titian's portrait of the duke's mother Eleonora Gonzaga, the reasoning being that the dog identifies the house as a della Rovere home, and that it remains quiet indicates that the viewer is the husband of the woman.  A recent theory by Józef Grabski suggests that the painting represents an allegory of marital love between the famous Italian poet Vittoria Colonna and her deceased husband, Fernando d'Ávalos. Grabski supports his theory through analyzing various visual clues and symbols, the most prominent being the classic column in front of the trees in the window in the right half, a small detail on the painting that imitates the Colonna Family coat of arms.", "entry": "section", "prompt": "Dans Vénus d'Urbin, comment est discutée la Description?Veuillez sortir en anglais.", "section_entities": ["Duchy of Urbino", "Duke of Camerino", "Duchy of Urbino", "Fernando d'Ávalos", "Guidobaldo II della Rovere", "Ippolito de' Medici", "Józef Grabski", "Pesaro", "Pope Clement VII", "Titian", "Venice", "Vittoria Colonna"]}
{"id": 956, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.", "entry": "section", "prompt": "Concentrez-vous sur Vénus d'Urbin et expliquez la Sculptures.Veuillez sortir en anglais.", "section_entities": ["Lorenzo Bartolini", "Musée Fabre", "Port Sunlight", "Titian"]}
{"id": 957, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.", "entry": "section", "prompt": "Expliquer la Sculptures de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.", "section_entities": ["Lorenzo Bartolini", "Musée Fabre", "Port Sunlight", "Titian"]}
{"id": 958, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.", "entry": "section", "prompt": "Comment Vénus d'Urbin explique-t-il sa Sculptures?Veuillez sortir en anglais.", "section_entities": ["Lorenzo Bartolini", "Musée Fabre", "Port Sunlight", "Titian"]}
{"id": 959, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Lorenzo Bartolini developed the same theme in sculpture with his Venus , based on the painting that his friend J.A.D. Ingres copied for him from the Titian version. The original sculpture is located at the Musée Fabre in Montpellier; a copy is at the dy Lever Art Gallery, Port Sunlight, near Liverpool.", "entry": "section", "prompt": "Dans Vénus d'Urbin, comment est discutée la Sculptures?Veuillez sortir en anglais.", "section_entities": ["Lorenzo Bartolini", "Musée Fabre", "Port Sunlight", "Titian"]}
{"id": 960, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "List of works by Titian Renaissance in Urbino", "entry": "section", "prompt": "Concentrez-vous sur Vénus d'Urbin et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["List of works by Titian", "Renaissance", "Renaissance in Urbino", "Titian"]}
{"id": 961, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "List of works by Titian Renaissance in Urbino", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.", "section_entities": ["List of works by Titian", "Renaissance", "Renaissance in Urbino", "Titian"]}
{"id": 962, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "List of works by Titian Renaissance in Urbino", "entry": "section", "prompt": "Comment Vénus d'Urbin explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of works by Titian", "Renaissance", "Renaissance in Urbino", "Titian"]}
{"id": 963, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "List of works by Titian Renaissance in Urbino", "entry": "section", "prompt": "Dans Vénus d'Urbin, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of works by Titian", "Renaissance", "Renaissance in Urbino", "Titian"]}
{"id": 964, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Goffen, Rona , \"Sex, Space and Social History in Titian's Venus of Urbino\", in Goffen, Rona , Titian's \"Venus of Urbino\", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , \"Classical antiquity in Venetian Renaissance subject matter\", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books", "entry": "section", "prompt": "Concentrez-vous sur Vénus d'Urbin et expliquez la Références.Veuillez sortir en anglais.", "section_entities": ["Renaissance", "Titian"]}
{"id": 965, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Goffen, Rona , \"Sex, Space and Social History in Titian's Venus of Urbino\", in Goffen, Rona , Titian's \"Venus of Urbino\", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , \"Classical antiquity in Venetian Renaissance subject matter\", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books", "entry": "section", "prompt": "Expliquer la Références de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.", "section_entities": ["Renaissance", "Titian"]}
{"id": 966, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Goffen, Rona , \"Sex, Space and Social History in Titian's Venus of Urbino\", in Goffen, Rona , Titian's \"Venus of Urbino\", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , \"Classical antiquity in Venetian Renaissance subject matter\", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books", "entry": "section", "prompt": "Comment Vénus d'Urbin explique-t-il sa Références?Veuillez sortir en anglais.", "section_entities": ["Renaissance", "Titian"]}
{"id": 967, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Goffen, Rona , \"Sex, Space and Social History in Titian's Venus of Urbino\", in Goffen, Rona , Titian's \"Venus of Urbino\", 1997, Cambridge University Press Goffen, Rona , Titian's Women, 1997, Yale University Press,  Hale, Sheila, Titian, His Life, 2012, Harper Press,  Hope, Charles , \"Classical antiquity in Venetian Renaissance subject matter\", in Francis Ames-Lewis , New Interpretations of Venetian Renaissance Painting, 1994, Birkbeck College History of Art  Wind, Edgar, Pagan Mysteries in the Renaissance, 1967 edn., Peregrine Books", "entry": "section", "prompt": "Dans Vénus d'Urbin, comment est discutée la Références?Veuillez sortir en anglais.", "section_entities": ["Renaissance", "Titian"]}
{"id": 968, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Goffen, Rona , Titian's \"Venus of Urbino\", 1997, Cambridge University Press", "entry": "section", "prompt": "Concentrez-vous sur Vénus d'Urbin et expliquez la Lectures supplémentaires.Veuillez sortir en anglais.", "section_entities": ["Titian"]}
{"id": 969, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Goffen, Rona , Titian's \"Venus of Urbino\", 1997, Cambridge University Press", "entry": "section", "prompt": "Expliquer la Lectures supplémentaires de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.", "section_entities": ["Titian"]}
{"id": 970, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Goffen, Rona , Titian's \"Venus of Urbino\", 1997, Cambridge University Press", "entry": "section", "prompt": "Comment Vénus d'Urbin explique-t-il sa Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": ["Titian"]}
{"id": 971, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "Goffen, Rona , Titian's \"Venus of Urbino\", 1997, Cambridge University Press", "entry": "section", "prompt": "Dans Vénus d'Urbin, comment est discutée la Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": ["Titian"]}
{"id": 972, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino \"the foulest, the vilest, the obscenest picture the world possesses.\" He proposed that \"it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong\", adding humorously that \"in truth, it is a trifle too strong for any place but a public art gallery\". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the \"last eighty or ninety years\". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had \"stood in innocent nakedness for ages.\"The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.", "entry": "subsection", "prompt": "Dans le contexte de Vénus d'Urbin, expliquez la Histoire ultérieure et la Description.Veuillez sortir en anglais.", "section_entities": ["A Tramp Abroad", "Ferdinando II de' Medici", "Johan Zoffany", "Mark Twain", "Papal States", "Pesaro", "Uffizi", "Venice", "Victorine Meurent", "Vittoria della Rovere", "Édouard Manet"]}
{"id": 973, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino \"the foulest, the vilest, the obscenest picture the world possesses.\" He proposed that \"it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong\", adding humorously that \"in truth, it is a trifle too strong for any place but a public art gallery\". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the \"last eighty or ninety years\". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had \"stood in innocent nakedness for ages.\"The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.", "entry": "subsection", "prompt": "Expliquer la Histoire ultérieure concernant la Description de cette œuvre d'art, Vénus d'Urbin.Veuillez sortir en anglais.", "section_entities": ["A Tramp Abroad", "Ferdinando II de' Medici", "Johan Zoffany", "Mark Twain", "Papal States", "Pesaro", "Uffizi", "Venice", "Victorine Meurent", "Vittoria della Rovere", "Édouard Manet"]}
{"id": 974, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino \"the foulest, the vilest, the obscenest picture the world possesses.\" He proposed that \"it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong\", adding humorously that \"in truth, it is a trifle too strong for any place but a public art gallery\". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the \"last eighty or ninety years\". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had \"stood in innocent nakedness for ages.\"The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.", "entry": "subsection", "prompt": "Dans Vénus d'Urbin, comment la Histoire ultérieure de la Description est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["A Tramp Abroad", "Ferdinando II de' Medici", "Johan Zoffany", "Mark Twain", "Papal States", "Pesaro", "Uffizi", "Venice", "Victorine Meurent", "Vittoria della Rovere", "Édouard Manet"]}
{"id": 975, "title": "Vénus d'Urbin", "en_title": "Venus of Urbino", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bb/Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg/380px-Tiziano_-_Venere_di_Urbino_-_Google_Art_Project.jpg", "reference": "In 1624, as the Papacy moved to fully annex the duchy to the Papal States, the della Rovere court moved to Pesaro, where the painting hung in the Villa Imperiale. It joined the Medici family collections in 1633 when the last della Rovere, Vittoria della Rovere, married Ferdinando II de' Medici, Grand Duke of Tuscany. It was moved to the Uffizi in 1736, and has remained there ever since, apart from visits to exhibitions which in the 21st century have included Madrid, Brussels, Tokyo, Venice, and Urbino. It has long been famous, as is shown by its prominent placing at the front of the gallery group portrait by Johan Zoffany of the Tribuna of the Uffizi of the 1770s.In his 1880 travelogue A Tramp Abroad, Mark Twain called the Venus of Urbino \"the foulest, the vilest, the obscenest picture the world possesses.\" He proposed that \"it was painted for a bagnio [brothel], and it was probably refused because it was a trifle too strong\", adding humorously that \"in truth, it is a trifle too strong for any place but a public art gallery\". Twain does this to juxtapose the artistic license  allowed in painting, as opposed to the restrictions and Victorian morality imposed on literature in the \"last eighty or ninety years\". In the same passage, Twain also mocks the fig leaves placed in the 19th century on nude statues in Rome, which had \"stood in innocent nakedness for ages.\"The Venus of Urbino was one of the inspirations for Édouard Manet's 1863 Olympia, in which the figure of Venus is replaced with the model Victorine Meurent.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Histoire ultérieure dans la Description de Vénus d'Urbin.Veuillez sortir en anglais.", "section_entities": ["A Tramp Abroad", "Ferdinando II de' Medici", "Johan Zoffany", "Mark Twain", "Papal States", "Pesaro", "Uffizi", "Venice", "Victorine Meurent", "Vittoria della Rovere", "Édouard Manet"]}
{"id": 976, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.", "entry": "section", "prompt": "Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Anatomy", "Mauritshuis", "Netherlands", "Nicolaes Tulp", "Rembrandt", "Surgeon", "The Hague"]}
{"id": 977, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.", "section_entities": ["Anatomy", "Mauritshuis", "Netherlands", "Nicolaes Tulp", "Rembrandt", "Surgeon", "The Hague"]}
{"id": 978, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.", "entry": "section", "prompt": "Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Anatomy", "Mauritshuis", "Netherlands", "Nicolaes Tulp", "Rembrandt", "Surgeon", "The Hague"]}
{"id": 979, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. It was originally created to be displayed by the Surgeons Guild in their meeting room. The painting is regarded as one of Rembrandt's early masterpieces.In the work, Nicolaes Tulp is pictured explaining the musculature of the arm to a group of doctors. Some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt. f[ecit] 1632. This may be the first instance of Rembrandt signing a painting with his forename  as opposed to the monogram RHL , and is thus a sign of his growing artistic confidence.", "entry": "section", "prompt": "Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Anatomy", "Mauritshuis", "Netherlands", "Nicolaes Tulp", "Rembrandt", "Surgeon", "The Hague"]}
{"id": 980, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.", "entry": "section", "prompt": "Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Contexte.Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Anatomy", "Rembrandt", "Surgeon", "Andreas Vesalius"]}
{"id": 981, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.", "entry": "section", "prompt": "Expliquer la Contexte de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Anatomy", "Rembrandt", "Surgeon", "Andreas Vesalius"]}
{"id": 982, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.", "entry": "section", "prompt": "Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Contexte?Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Anatomy", "Rembrandt", "Surgeon", "Andreas Vesalius"]}
{"id": 983, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The event can be dated to 31 January 1632: the Amsterdam Guild of Surgeons, of which Tulp was official City Anatomist, permitted only one public dissection a year, and the body would have to be that of an executed criminal.Anatomy lessons were a social event in the 17th century, taking place in lecture rooms that were actual theatres, with students, colleagues and the general public being permitted to attend on payment of an entrance fee. The spectators are appropriately dressed for this social occasion. It is thought that the uppermost  and farthest left figures were added to the picture later.Every five to ten years, the Surgeon's Guild would commission a portrait by a leading portraitist of the period; Rembrandt was commissioned for this task when he was 25 years old, and newly arrived in Amsterdam. It was his first major commission in Amsterdam. Each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures  probably paid more, even twice as much. Rembrandt's anatomical portrait radically altered the conventions of the genre, by including a full-length corpse in the center of the image  and creating not just a portrait but a dramatic mise-en-scène. Rembrandt's image is a fiction; in a typical anatomy lesson, the surgeon would begin by opening the chest cavity and thorax because the internal organs there decay most rapidly.One person is missing: the Preparator, whose task was to prepare the body for the lesson. In the 17th century an important scientist such as Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments. Instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica  by Andreas Vesalius.", "entry": "section", "prompt": "Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Contexte?Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Anatomy", "Rembrandt", "Surgeon", "Andreas Vesalius"]}
{"id": 984, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.", "entry": "section", "prompt": "Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Le cadavre.Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Anatomy", "Rembrandt", "The Rings of Saturn", "W. G. Sebald"]}
{"id": 985, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.", "entry": "section", "prompt": "Expliquer la Le cadavre de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Anatomy", "Rembrandt", "The Rings of Saturn", "W. G. Sebald"]}
{"id": 986, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.", "entry": "section", "prompt": "Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Le cadavre?Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Anatomy", "Rembrandt", "The Rings of Saturn", "W. G. Sebald"]}
{"id": 987, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The corpse is that of the criminal Aris Kindt , who was convicted for armed robbery and sentenced to death by hanging. He was executed earlier on the same day of the scene. The face of the corpse is partially shaded,Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in ird Hunt's 2006 novel The Exquisite. In her 2014 historical fiction novel The Anatomy Lesson, author and journalist Nina Siegal tells the life story of Aris Kindt, based on documents about his criminal history that she discovered in the Amsterdam city archives.Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt. It is not known where he obtained such knowledge; it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver, revealing several discrepancies of the exposed left forearm compared to that of a real corpse.In a 2007 study, the American artist and anatomist David J. Jackowe and his colleagues demonstrated that the mysterious white cord that courses along the ulnar aspect of the cadaver's carpus and little finger, long thought to be either an ulnar nerve variant or artistic error, is most likely the tendon of a variant forearm muscle, the accessory abductor digiti minimi.", "entry": "section", "prompt": "Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Le cadavre?Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Anatomy", "Rembrandt", "The Rings of Saturn", "W. G. Sebald"]}
{"id": 988, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.", "entry": "section", "prompt": "Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Travauxconnexes.Veuillez sortir en anglais.", "section_entities": ["African National Congress", "Amsterdam", "Anatomy", "Cyril Ramaphosa", "Desmond Tutu", "F. W. de Klerk", "Helen Zille", "Jacob Zuma", "Nelson Mandela", "Nicolaes Tulp", "Nkosi Johnson", "Rembrandt", "South Africa", "Susan Dorothea White", "Thabo Mbeki", "The Agnew Clinic", "The Anatomy Lesson of Dr. Deijman", "The Gross Clinic", "The Hague", "Thomas Eakins", "Trevor Manuel", "Édouard Manet"]}
{"id": 989, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.", "entry": "section", "prompt": "Expliquer la Travauxconnexes de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.", "section_entities": ["African National Congress", "Amsterdam", "Anatomy", "Cyril Ramaphosa", "Desmond Tutu", "F. W. de Klerk", "Helen Zille", "Jacob Zuma", "Nelson Mandela", "Nicolaes Tulp", "Nkosi Johnson", "Rembrandt", "South Africa", "Susan Dorothea White", "Thabo Mbeki", "The Agnew Clinic", "The Anatomy Lesson of Dr. Deijman", "The Gross Clinic", "The Hague", "Thomas Eakins", "Trevor Manuel", "Édouard Manet"]}
{"id": 990, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.", "entry": "section", "prompt": "Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Travauxconnexes?Veuillez sortir en anglais.", "section_entities": ["African National Congress", "Amsterdam", "Anatomy", "Cyril Ramaphosa", "Desmond Tutu", "F. W. de Klerk", "Helen Zille", "Jacob Zuma", "Nelson Mandela", "Nicolaes Tulp", "Nkosi Johnson", "Rembrandt", "South Africa", "Susan Dorothea White", "Thabo Mbeki", "The Agnew Clinic", "The Anatomy Lesson of Dr. Deijman", "The Gross Clinic", "The Hague", "Thomas Eakins", "Trevor Manuel", "Édouard Manet"]}
{"id": 991, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp.Deijman was Tulp's immediate successor in the post of praelector chirugic et anatomie. The painting was damaged by fire in 1723, and only a central fragment survives.Around 1856 Édouard Manet visited The Hague and made a small oil on panel copy of The Anatomy Lesson. Broadly painted in a limited palette, Manet gave the painting to his physician, François Siredey.A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection.The Gross Clinic of 1875 and The Agnew Clinic of 1889 are paintings by the American artist Thomas Eakins which treat a similar subject, operations on live patients in the presence of medical students.In 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille. The African National Congress condemned the work as disrespectful to Mandela, racist, and culturally insensitive to African taboos on depiction of living people as dead.The 2012 painting The Anatomy Lesson of Dr Freeman by Susan Dorothea White references the Rembrandt composition but renders each of the onlookers as an anatomical prosection and skeleton in a contemporary university laboratory; the enormous book is replaced by a computer screen and the background chart by a projection screen; the tendon orientation in the cadaver's left forearm is corrected.", "entry": "section", "prompt": "Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Travauxconnexes?Veuillez sortir en anglais.", "section_entities": ["African National Congress", "Amsterdam", "Anatomy", "Cyril Ramaphosa", "Desmond Tutu", "F. W. de Klerk", "Helen Zille", "Jacob Zuma", "Nelson Mandela", "Nicolaes Tulp", "Nkosi Johnson", "Rembrandt", "South Africa", "Susan Dorothea White", "Thabo Mbeki", "The Agnew Clinic", "The Anatomy Lesson of Dr. Deijman", "The Gross Clinic", "The Hague", "Thomas Eakins", "Trevor Manuel", "Édouard Manet"]}
{"id": 992, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.", "entry": "section", "prompt": "Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Danslaculturepopulaire.Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Amsterdam University Medical Center", "Anatomy", "Anthony Fauci", "Asterix and the Soothsayer", "Deus Ex: Human Revolution", "Donna Tartt", "Gunther von Hagens"]}
{"id": 993, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.", "entry": "section", "prompt": "Expliquer la Danslaculturepopulaire de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Amsterdam University Medical Center", "Anatomy", "Anthony Fauci", "Asterix and the Soothsayer", "Deus Ex: Human Revolution", "Donna Tartt", "Gunther von Hagens"]}
{"id": 994, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.", "entry": "section", "prompt": "Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Danslaculturepopulaire?Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Amsterdam University Medical Center", "Anatomy", "Anthony Fauci", "Asterix and the Soothsayer", "Deus Ex: Human Revolution", "Donna Tartt", "Gunther von Hagens"]}
{"id": 995, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Body Snatcher  quotes this scene when Dr. Macfarlane dissects a cadaver in front of his medical students.In Asterix and the Soothsayer , Uderzo and Goscinny referenced the painting at the bottom of page 10, where the characters observe the disembowelment of a fish.The 2011 video game Deus Ex: Human Revolution references the painting in both in-game portraits that can be found on the wall and in a certain cinematic trailer, featuring the main protagonist Adam Jensen as the cadaver as Dr. Nicolaes and his students study his charred and ruined arms, which in the actual story become amputated and replaced with mechanical limbs.In the 2012 German film Barbara, there is a scene in which a doctor offers his interpretation of the painting to a colleague  when she points out the inaccuracy of Aris Kindt's left hand.The painting is discussed by the narrator  and his mother during a visit to the Met in The Goldfinch, a 2013 novel by Donna Tartt.2014's The Anatomy Lesson by Nina Siegal is a fictionalized account of the painting's creation and backstory, based on six years of historical research and archival documents about Aris Kindt's life.The 2017 video game Observer_ features an edited version of the painting with the muscles and tendons replaced with sub-dermal cybernetics, in touch with the game's themes of transhumanism.Featured in episode 14 of the Korean drama Hush .Featured in the American horror film False Positive .Dr. Nicoleas Tulp's alma mater Amsterdam University Medical Centers hosts a yearly Anatomy Lesson in tribute. Previous speakers include Anthony Fauci. The anatomist Gunther von Hagens always wears a black fedora in public, even when performing autopsies, in a tribute to Dr. Tulp's hat in the painting.", "entry": "section", "prompt": "Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Danslaculturepopulaire?Veuillez sortir en anglais.", "section_entities": ["Amsterdam", "Amsterdam University Medical Center", "Anatomy", "Anthony Fauci", "Asterix and the Soothsayer", "Deus Ex: Human Revolution", "Donna Tartt", "Gunther von Hagens"]}
{"id": 996, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt", "entry": "section", "prompt": "Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Anatomy", "List of paintings by Rembrandt", "Rembrandt", "The Anatomy Lesson of Dr. Deijman"]}
{"id": 997, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.", "section_entities": ["Anatomy", "List of paintings by Rembrandt", "Rembrandt", "The Anatomy Lesson of Dr. Deijman"]}
{"id": 998, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt", "entry": "section", "prompt": "Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Anatomy", "List of paintings by Rembrandt", "Rembrandt", "The Anatomy Lesson of Dr. Deijman"]}
{"id": 999, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "The Anatomy Lesson of Dr. Deijman , a lesser-known painting by Rembrandt, now fragmentary, also depicting an anatomical lecture. List of paintings by Rembrandt", "entry": "section", "prompt": "Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Anatomy", "List of paintings by Rembrandt", "Rembrandt", "The Anatomy Lesson of Dr. Deijman"]}
{"id": 1000, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "Heller, Joseph , Picture This, Scribner Paperback Fiction,", "entry": "section", "prompt": "Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Références.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1001, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "Heller, Joseph , Picture This, Scribner Paperback Fiction,", "entry": "section", "prompt": "Expliquer la Références de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1002, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "Heller, Joseph , Picture This, Scribner Paperback Fiction,", "entry": "section", "prompt": "Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Références?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1003, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "Heller, Joseph , Picture This, Scribner Paperback Fiction,", "entry": "section", "prompt": "Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Références?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1004, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "Discussion by Janina Ramirez and Adam Rutherford:", "entry": "section", "prompt": "Concentrez-vous sur La Leçon d'anatomie du docteur Tulp et expliquez la Liensexternes.Veuillez sortir en anglais.", "section_entities": ["Adam Rutherford", "Janina Ramirez"]}
{"id": 1005, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "Discussion by Janina Ramirez and Adam Rutherford:", "entry": "section", "prompt": "Expliquer la Liensexternes de cette œuvre d'art, La Leçon d'anatomie du docteur Tulp.Veuillez sortir en anglais.", "section_entities": ["Adam Rutherford", "Janina Ramirez"]}
{"id": 1006, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "Discussion by Janina Ramirez and Adam Rutherford:", "entry": "section", "prompt": "Comment La Leçon d'anatomie du docteur Tulp explique-t-il sa Liensexternes?Veuillez sortir en anglais.", "section_entities": ["Adam Rutherford", "Janina Ramirez"]}
{"id": 1007, "title": "La Leçon d'anatomie du docteur Tulp", "en_title": "The Anatomy Lesson of Dr. Nicolaes Tulp", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg/270px-Rembrandt_-_The_Anatomy_Lesson_of_Dr_Nicolaes_Tulp.jpg", "reference": "Discussion by Janina Ramirez and Adam Rutherford:", "entry": "section", "prompt": "Dans La Leçon d'anatomie du docteur Tulp, comment est discutée la Liensexternes?Veuillez sortir en anglais.", "section_entities": ["Adam Rutherford", "Janina Ramirez"]}
{"id": 1008, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as \"one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting\".  Made entirely of bronze and measuring 78.5&nbsp;cm high with a length of 129&nbsp;cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.", "entry": "section", "prompt": "Concentrez-vous sur Chimère d'Arezzo et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Arezzo", "Arezzo", "Bellerophon", "David Ekserdjian", "Etruscan art", "National Archaeological Museum, Florence", "National Archaeological Museum, Florence", "Tinia", "Tuscany"]}
{"id": 1009, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as \"one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting\".  Made entirely of bronze and measuring 78.5&nbsp;cm high with a length of 129&nbsp;cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Arezzo", "Arezzo", "Bellerophon", "David Ekserdjian", "Etruscan art", "National Archaeological Museum, Florence", "National Archaeological Museum, Florence", "Tinia", "Tuscany"]}
{"id": 1010, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as \"one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting\".  Made entirely of bronze and measuring 78.5&nbsp;cm high with a length of 129&nbsp;cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.", "entry": "section", "prompt": "Comment Chimère d'Arezzo explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Arezzo", "Arezzo", "Bellerophon", "David Ekserdjian", "Etruscan art", "National Archaeological Museum, Florence", "National Archaeological Museum, Florence", "Tinia", "Tuscany"]}
{"id": 1011, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as \"one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting\".  Made entirely of bronze and measuring 78.5&nbsp;cm high with a length of 129&nbsp;cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.", "entry": "section", "prompt": "Dans Chimère d'Arezzo, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Arezzo", "Arezzo", "Bellerophon", "David Ekserdjian", "Etruscan art", "National Archaeological Museum, Florence", "National Archaeological Museum, Florence", "Tinia", "Tuscany"]}
{"id": 1012, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "According to Greek mythology, the Chimera or \"She-Goat\" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori  fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read  \"Offering belonging to Tinia\". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.", "entry": "section", "prompt": "Concentrez-vous sur Chimère d'Arezzo et expliquez la Histoire.Veuillez sortir en anglais.", "section_entities": ["Anatolia", "Arezzo", "Arezzo", "Bellerophon", "Etruscan language", "Francesco Carradori", "Getty Villa", "Giorgio Vasari", "Grand Duchy of Tuscany", "Greek mythology", "Iobates", "Lycia", "Pegasus", "Proetus", "Tinia", "Tuscany", "Typhon", "Uffizi", "Uffizi", "Votive offering", "Votive offering"]}
{"id": 1013, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "According to Greek mythology, the Chimera or \"She-Goat\" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori  fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read  \"Offering belonging to Tinia\". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.", "entry": "section", "prompt": "Expliquer la Histoire de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Anatolia", "Arezzo", "Arezzo", "Bellerophon", "Etruscan language", "Francesco Carradori", "Getty Villa", "Giorgio Vasari", "Grand Duchy of Tuscany", "Greek mythology", "Iobates", "Lycia", "Pegasus", "Proetus", "Tinia", "Tuscany", "Typhon", "Uffizi", "Uffizi", "Votive offering", "Votive offering"]}
{"id": 1014, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "According to Greek mythology, the Chimera or \"She-Goat\" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori  fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read  \"Offering belonging to Tinia\". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.", "entry": "section", "prompt": "Comment Chimère d'Arezzo explique-t-il sa Histoire?Veuillez sortir en anglais.", "section_entities": ["Anatolia", "Arezzo", "Arezzo", "Bellerophon", "Etruscan language", "Francesco Carradori", "Getty Villa", "Giorgio Vasari", "Grand Duchy of Tuscany", "Greek mythology", "Iobates", "Lycia", "Pegasus", "Proetus", "Tinia", "Tuscany", "Typhon", "Uffizi", "Uffizi", "Votive offering", "Votive offering"]}
{"id": 1015, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "According to Greek mythology, the Chimera or \"She-Goat\" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori  fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read  \"Offering belonging to Tinia\". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.", "entry": "section", "prompt": "Dans Chimère d'Arezzo, comment est discutée la Histoire?Veuillez sortir en anglais.", "section_entities": ["Anatolia", "Arezzo", "Arezzo", "Bellerophon", "Etruscan language", "Francesco Carradori", "Getty Villa", "Giorgio Vasari", "Grand Duchy of Tuscany", "Greek mythology", "Iobates", "Lycia", "Pegasus", "Proetus", "Tinia", "Tuscany", "Typhon", "Uffizi", "Uffizi", "Votive offering", "Votive offering"]}
{"id": 1016, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.", "entry": "section", "prompt": "Concentrez-vous sur Chimère d'Arezzo et expliquez la Iconographie.Veuillez sortir en anglais.", "section_entities": ["Bellerophon"]}
{"id": 1017, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.", "entry": "section", "prompt": "Expliquer la Iconographie de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Bellerophon"]}
{"id": 1018, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.", "entry": "section", "prompt": "Comment Chimère d'Arezzo explique-t-il sa Iconographie?Veuillez sortir en anglais.", "section_entities": ["Bellerophon"]}
{"id": 1019, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Typical iconography of the Chimera myth depicts the warrior Bellerophon as he confronts the Chimera, or rides atop or alongside it. This iconography began to appear upon Greek vessels in 600 BCE.", "entry": "section", "prompt": "Dans Chimère d'Arezzo, comment est discutée la Iconographie?Veuillez sortir en anglais.", "section_entities": ["Bellerophon"]}
{"id": 1020, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton . Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period  sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.", "entry": "section", "prompt": "Concentrez-vous sur Chimère d'Arezzo et expliquez la Méthodes et matériaux.Veuillez sortir en anglais.", "section_entities": ["Bronze", "Cyprus", "Lost-wax casting"]}
{"id": 1021, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton . Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period  sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.", "entry": "section", "prompt": "Expliquer la Méthodes et matériaux de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Bronze", "Cyprus", "Lost-wax casting"]}
{"id": 1022, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton . Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period  sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.", "entry": "section", "prompt": "Comment Chimère d'Arezzo explique-t-il sa Méthodes et matériaux?Veuillez sortir en anglais.", "section_entities": ["Bronze", "Cyprus", "Lost-wax casting"]}
{"id": 1023, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "In the 3rd millennium BCE ancient foundry workers discovered by trial and error that bronze had distinct advantages over pure copper for making artistic statuary. Bronze stays liquid longer when filling a mold due to its lower melting point. Bronze is a superior metal to copper for sculpture casting because of its higher tensile strength. The island of Cyprus supplied most of the bronze used for artistic purposes throughout the ancient Mediterranean region.The earliest forms of Greek bronze sculptures were simple, hand-worked sheets of bronze known as sphyrelaton . Like modern clay sculpture, these metal sheets could be embellished by hammering the metal over various wooden shapes made with textures that created a desired look or depth. This was later adapted to become the technique known today as tracing. By the late Archaic period  sphyrelaton lost popularity as lost-wax casting became the primary means of producing bronze sculpture. Lost-wax casting of bronze was achieved in three different ways, each with its own desired effects. The first and earliest method was solid casting, which required a model of the sculpture to be fashioned in solid wax and then carved. The second method was hollow lost-wax casting, which was created by a direct process. Finally, the third was hollow lost-wax casting by an indirect process. The model is packed in clay, and then heated in what today would be similar to a kiln to remove the wax and harden the clay. Then, the mold is inverted and metal poured inside it to create a cast. When cooled, the bronze-smith cracks open the clay model to reveal a solid bronze replica.For smaller details, sculptors often made eyes out of glass and painted on body hair, clothing details, and skin color. Lost in antiquity, most historical knowledge of how certain bronze statues would have looked comes from studying surviving Roman marble copies.", "entry": "section", "prompt": "Dans Chimère d'Arezzo, comment est discutée la Méthodes et matériaux?Veuillez sortir en anglais.", "section_entities": ["Bronze", "Cyprus", "Lost-wax casting"]}
{"id": 1024, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "September 15, 2012 – December 9, 2012 at the Royal Academy of Arts \"Bronze\"   <br />July 16, 2009 – February 8, 2010 at the Getty Villa", "entry": "section", "prompt": "Concentrez-vous sur Chimère d'Arezzo et expliquez la Expositions.Veuillez sortir en anglais.", "section_entities": ["Bronze", "Getty Villa", "Royal Academy of Arts"]}
{"id": 1025, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "September 15, 2012 – December 9, 2012 at the Royal Academy of Arts \"Bronze\"   <br />July 16, 2009 – February 8, 2010 at the Getty Villa", "entry": "section", "prompt": "Expliquer la Expositions de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Bronze", "Getty Villa", "Royal Academy of Arts"]}
{"id": 1026, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "September 15, 2012 – December 9, 2012 at the Royal Academy of Arts \"Bronze\"   <br />July 16, 2009 – February 8, 2010 at the Getty Villa", "entry": "section", "prompt": "Comment Chimère d'Arezzo explique-t-il sa Expositions?Veuillez sortir en anglais.", "section_entities": ["Bronze", "Getty Villa", "Royal Academy of Arts"]}
{"id": 1027, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "September 15, 2012 – December 9, 2012 at the Royal Academy of Arts \"Bronze\"   <br />July 16, 2009 – February 8, 2010 at the Getty Villa", "entry": "section", "prompt": "Dans Chimère d'Arezzo, comment est discutée la Expositions?Veuillez sortir en anglais.", "section_entities": ["Bronze", "Getty Villa", "Royal Academy of Arts"]}
{"id": 1028, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.", "entry": "section", "prompt": "Concentrez-vous sur Chimère d'Arezzo et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Capitoline Wolf"]}
{"id": 1029, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Capitoline Wolf"]}
{"id": 1030, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.", "entry": "section", "prompt": "Comment Chimère d'Arezzo explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Capitoline Wolf"]}
{"id": 1031, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Capitoline Wolf, a bronze long thought to be of 4th-century BCE Etruscan origin, but possibly medieval.", "entry": "section", "prompt": "Dans Chimère d'Arezzo, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Capitoline Wolf"]}
{"id": 1032, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .", "entry": "subsection", "prompt": "Dans le contexte de Chimère d'Arezzo, expliquez la Les Étrusques et la Histoire.Veuillez sortir en anglais.", "section_entities": ["Ancient Greek", "Etruria", "Etruscan art", "Etruscan civilization", "Phoenicia", "Roman Republic", "Roman–Etruscan Wars", "Tuscany", "Umbria"]}
{"id": 1033, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .", "entry": "subsection", "prompt": "Expliquer la Les Étrusques concernant la Histoire de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Ancient Greek", "Etruria", "Etruscan art", "Etruscan civilization", "Phoenicia", "Roman Republic", "Roman–Etruscan Wars", "Tuscany", "Umbria"]}
{"id": 1034, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .", "entry": "subsection", "prompt": "Dans Chimère d'Arezzo, comment la Les Étrusques de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Ancient Greek", "Etruria", "Etruscan art", "Etruscan civilization", "Phoenicia", "Roman Republic", "Roman–Etruscan Wars", "Tuscany", "Umbria"]}
{"id": 1035, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "The  Etruscan civilization was a wealthy civilization in ancient Italy with roots in the ancient region of Etruria, which existed during the early 8th–6th century BCE and extended over what is now a part of modern Tuscany, western Umbria, and northern zio. The region became a part of the Roman Republic after the Roman–Etruscan Wars.Heavily influenced by Ancient Greek culture, Etruscan art is characterized by the use of terracotta, metalworking—especially in bronze—as well as jewelry and engraved gems. Metal and bronze trinkets from the Mediterranean rapidly began to appear around Etruria. It is not clear to historians exactly when trading with the Eastern Mediterranean began; however, it is clear that both Phoenicians and Greeks must have been interested in the metal ores of Etruria, causing a rise in popularity of the art trade in these regions. The Etruscans were well known for their art throughout the Orientalizing Period , the Archaic Period , and the Hellenistic Period .", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Les Étrusques dans la Histoire de Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Ancient Greek", "Etruria", "Etruscan art", "Etruscan civilization", "Phoenicia", "Roman Republic", "Roman–Etruscan Wars", "Tuscany", "Umbria"]}
{"id": 1036, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where \"the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools\", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.", "entry": "subsection", "prompt": "Dans le contexte de Chimère d'Arezzo, expliquez la La découverte et la Histoire.Veuillez sortir en anglais.", "section_entities": ["Ancient Greek", "Arezzo", "Arezzo", "Benvenuto Cellini", "Giorgio Vasari", "Palazzo Pitti", "Palazzo Vecchio", "Tuscany"]}
{"id": 1037, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where \"the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools\", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.", "entry": "subsection", "prompt": "Expliquer la La découverte concernant la Histoire de cette œuvre d'art, Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Ancient Greek", "Arezzo", "Arezzo", "Benvenuto Cellini", "Giorgio Vasari", "Palazzo Pitti", "Palazzo Vecchio", "Tuscany"]}
{"id": 1038, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where \"the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools\", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.", "entry": "subsection", "prompt": "Dans Chimère d'Arezzo, comment la La découverte de la Histoire est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Ancient Greek", "Arezzo", "Arezzo", "Benvenuto Cellini", "Giorgio Vasari", "Palazzo Pitti", "Palazzo Vecchio", "Tuscany"]}
{"id": 1039, "title": "Chimère d'Arezzo", "en_title": "Chimera of Arezzo", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/ad/Chimera_d%27arezzo%2C_fi%2C_04.JPG/270px-Chimera_d%27arezzo%2C_fi%2C_04.JPG", "reference": "Discovered on November 15, 1553, by construction workers near the San Lorentino gate in Arezzo , the sculpture was quickly claimed for the collection of the Medici Grand Duke of Tuscany, Cosimo I, who placed it publicly in the Palazzo Vecchio in the hall of Leo X. Cosimo also placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where \"the Duke took great pleasure in cleaning them by himself, with some goldsmith's tools\", as Benvenuto Cellini reported in his autobiography. On discovery, the statue was missing the snake and its left front and rear paws. Due to its fragmented state upon discovery, the statue was originally regarded as a lion. The Italian painter Giorgio Vasari tracked down the statue motif by studying Ancient Greek and Roman coins, such as a silver stater Since 1870, the Chimera of Arezzo has made its home at the National Archaeological Museum in Florence. As the sculpture made its way through the Florence museums, it increasingly attracted the attention of both artists and historians.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la La découverte dans la Histoire de Chimère d'Arezzo.Veuillez sortir en anglais.", "section_entities": ["Ancient Greek", "Arezzo", "Arezzo", "Benvenuto Cellini", "Giorgio Vasari", "Palazzo Pitti", "Palazzo Vecchio", "Tuscany"]}
{"id": 1040, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "The Death of Marat  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.", "entry": "section", "prompt": "Concentrez-vous sur La Mort de Marat et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Charlotte Corday", "Committee of General Security", "French Revolution", "Jacques-Louis David", "Jean-Paul Marat", "Louvre"]}
{"id": 1041, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "The Death of Marat  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.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.", "section_entities": ["Charlotte Corday", "Committee of General Security", "French Revolution", "Jacques-Louis David", "Jean-Paul Marat", "Louvre"]}
{"id": 1042, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "The Death of Marat  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.", "entry": "section", "prompt": "Comment La Mort de Marat explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Charlotte Corday", "Committee of General Security", "French Revolution", "Jacques-Louis David", "Jean-Paul Marat", "Louvre"]}
{"id": 1043, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "The Death of Marat  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.", "entry": "section", "prompt": "Dans La Mort de Marat, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Charlotte Corday", "Committee of General Security", "French Revolution", "Jacques-Louis David", "Jean-Paul Marat", "Louvre"]}
{"id": 1044, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "Jean-Paul Marat  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 .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.", "entry": "section", "prompt": "Concentrez-vous sur La Mort de Marat et expliquez la L'assassinat de Marat.Veuillez sortir en anglais.", "section_entities": ["Charlotte Corday", "French Revolution", "Jean-Paul Marat", "L'Ami du peuple", "Reign of Terror", "Thermidorian Reaction"]}
{"id": 1045, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "Jean-Paul Marat  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 .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.", "entry": "section", "prompt": "Expliquer la L'assassinat de Marat de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.", "section_entities": ["Charlotte Corday", "French Revolution", "Jean-Paul Marat", "L'Ami du peuple", "Reign of Terror", "Thermidorian Reaction"]}
{"id": 1046, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "Jean-Paul Marat  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 .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.", "entry": "section", "prompt": "Comment La Mort de Marat explique-t-il sa L'assassinat de Marat?Veuillez sortir en anglais.", "section_entities": ["Charlotte Corday", "French Revolution", "Jean-Paul Marat", "L'Ami du peuple", "Reign of Terror", "Thermidorian Reaction"]}
{"id": 1047, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "Jean-Paul Marat  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 .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.", "entry": "section", "prompt": "Dans La Mort de Marat, comment est discutée la L'assassinat de Marat?Veuillez sortir en anglais.", "section_entities": ["Charlotte Corday", "French Revolution", "Jean-Paul Marat", "L'Ami du peuple", "Reign of Terror", "Thermidorian Reaction"]}
{"id": 1048, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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.", "entry": "section", "prompt": "Concentrez-vous sur La Mort de Marat et expliquez la la politique de David.Veuillez sortir en anglais.", "section_entities": ["Committee of General Security", "Committee of Public Instruction", "Louis XVI", "National Convention"]}
{"id": 1049, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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.", "entry": "section", "prompt": "Expliquer la la politique de David de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.", "section_entities": ["Committee of General Security", "Committee of Public Instruction", "Louis XVI", "National Convention"]}
{"id": 1050, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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.", "entry": "section", "prompt": "Comment La Mort de Marat explique-t-il sa la politique de David?Veuillez sortir en anglais.", "section_entities": ["Committee of General Security", "Committee of Public Instruction", "Louis XVI", "National Convention"]}
{"id": 1051, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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.", "entry": "section", "prompt": "Dans La Mort de Marat, comment est discutée la la politique de David?Veuillez sortir en anglais.", "section_entities": ["Committee of General Security", "Committee of Public Instruction", "Louis XVI", "National Convention"]}
{"id": 1052, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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 Marats 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.", "entry": "section", "prompt": "Concentrez-vous sur La Mort de Marat et expliquez la Style.Veuillez sortir en anglais.", "section_entities": ["Caravaggio"]}
{"id": 1053, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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 Marats 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.", "entry": "section", "prompt": "Expliquer la Style de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.", "section_entities": ["Caravaggio"]}
{"id": 1054, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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 Marats 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.", "entry": "section", "prompt": "Comment La Mort de Marat explique-t-il sa Style?Veuillez sortir en anglais.", "section_entities": ["Caravaggio"]}
{"id": 1055, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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 Marats 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.", "entry": "section", "prompt": "Dans La Mort de Marat, comment est discutée la Style?Veuillez sortir en anglais.", "section_entities": ["Caravaggio"]}
{"id": 1056, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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  and writers .  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.", "entry": "section", "prompt": "Concentrez-vous sur La Mort de Marat et expliquez la Histoire ultérieure.Veuillez sortir en anglais.", "section_entities": ["Charles Baudelaire", "Charlotte Corday", "Edvard Munch", "Pablo Picasso", "Pierre-Joseph Proudhon", "Reign of Terror", "Robert Lindsay, 29th Earl of Crawford"]}
{"id": 1057, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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  and writers .  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.", "entry": "section", "prompt": "Expliquer la Histoire ultérieure de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.", "section_entities": ["Charles Baudelaire", "Charlotte Corday", "Edvard Munch", "Pablo Picasso", "Pierre-Joseph Proudhon", "Reign of Terror", "Robert Lindsay, 29th Earl of Crawford"]}
{"id": 1058, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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  and writers .  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.", "entry": "section", "prompt": "Comment La Mort de Marat explique-t-il sa Histoire ultérieure?Veuillez sortir en anglais.", "section_entities": ["Charles Baudelaire", "Charlotte Corday", "Edvard Munch", "Pablo Picasso", "Pierre-Joseph Proudhon", "Reign of Terror", "Robert Lindsay, 29th Earl of Crawford"]}
{"id": 1059, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "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  and writers .  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.", "entry": "section", "prompt": "Dans La Mort de Marat, comment est discutée la Histoire ultérieure?Veuillez sortir en anglais.", "section_entities": ["Charles Baudelaire", "Charlotte Corday", "Edvard Munch", "Pablo Picasso", "Pierre-Joseph Proudhon", "Reign of Terror", "Robert Lindsay, 29th Earl of Crawford"]}
{"id": 1060, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "In 1897, the French director Georges Hatot made a movie entitled  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 , 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 nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , 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,  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  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 dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The 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 .", "entry": "section", "prompt": "Concentrez-vous sur La Mort de Marat et expliquez la Danslaculturepopulaire.Veuillez sortir en anglais.", "section_entities": ["Alpha Zulu", "Andrew Bird", "Andrzej Wajda", "Caravaggio", "Cold Chisel", "Deathconsciousness", "Derek Jarman", "Georges Hatot", "Have a Nice Life", "Jason Flemyng", "My Finest Work Yet", "My Year of Rest and Relaxation", "Ottessa Moshfegh", "R.E.M.", "Stanley Kubrick", "Steve Goodman", "The Red Violin"]}
{"id": 1061, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "In 1897, the French director Georges Hatot made a movie entitled  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 , 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 nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , 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,  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  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 dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The 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 .", "entry": "section", "prompt": "Expliquer la Danslaculturepopulaire de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.", "section_entities": ["Alpha Zulu", "Andrew Bird", "Andrzej Wajda", "Caravaggio", "Cold Chisel", "Deathconsciousness", "Derek Jarman", "Georges Hatot", "Have a Nice Life", "Jason Flemyng", "My Finest Work Yet", "My Year of Rest and Relaxation", "Ottessa Moshfegh", "R.E.M.", "Stanley Kubrick", "Steve Goodman", "The Red Violin"]}
{"id": 1062, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "In 1897, the French director Georges Hatot made a movie entitled  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 , 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 nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , 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,  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  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 dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The 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 .", "entry": "section", "prompt": "Comment La Mort de Marat explique-t-il sa Danslaculturepopulaire?Veuillez sortir en anglais.", "section_entities": ["Alpha Zulu", "Andrew Bird", "Andrzej Wajda", "Caravaggio", "Cold Chisel", "Deathconsciousness", "Derek Jarman", "Georges Hatot", "Have a Nice Life", "Jason Flemyng", "My Finest Work Yet", "My Year of Rest and Relaxation", "Ottessa Moshfegh", "R.E.M.", "Stanley Kubrick", "Steve Goodman", "The Red Violin"]}
{"id": 1063, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "In 1897, the French director Georges Hatot made a movie entitled  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 , 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 nd. The picture is prominently featured on the DVD cover. Steve Goodman re-created the painting  for the cover of his 1977 album Say It in Private. The painting is recreated in The Red Violin , 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,  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  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 dy Gaga in Marat's spot for ARTPOP.  The painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa Moshfegh The 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 .", "entry": "section", "prompt": "Dans La Mort de Marat, comment est discutée la Danslaculturepopulaire?Veuillez sortir en anglais.", "section_entities": ["Alpha Zulu", "Andrew Bird", "Andrzej Wajda", "Caravaggio", "Cold Chisel", "Deathconsciousness", "Derek Jarman", "Georges Hatot", "Have a Nice Life", "Jason Flemyng", "My Finest Work Yet", "My Year of Rest and Relaxation", "Ottessa Moshfegh", "R.E.M.", "Stanley Kubrick", "Steve Goodman", "The Red Violin"]}
{"id": 1064, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "List of paintings by Jacques-Louis David", "entry": "section", "prompt": "Concentrez-vous sur La Mort de Marat et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "List of paintings by Jacques-Louis David"]}
{"id": 1065, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "List of paintings by Jacques-Louis David", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "List of paintings by Jacques-Louis David"]}
{"id": 1066, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "List of paintings by Jacques-Louis David", "entry": "section", "prompt": "Comment La Mort de Marat explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "List of paintings by Jacques-Louis David"]}
{"id": 1067, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "List of paintings by Jacques-Louis David", "entry": "section", "prompt": "Dans La Mort de Marat, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "List of paintings by Jacques-Louis David"]}
{"id": 1068, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "T J Clark, \"Painting in the Year Two\", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp.&nbsp;13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp.&nbsp;62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., \"An antique model for David's Marat\" in The Burlington Magazine CXXV, 967 , pp.&nbsp;605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp.&nbsp;131–144 Simon, Robert, \"David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation\" in Art History, vol.14, n°4 , pp.&nbsp;459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, \"Marat : du portrait à la peinture d'histoire\"] Malvone, ura, \"L'Évènement politique en peinture. A propos du Marat de David\" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, \"Un album inédit de David\", Revue de l’Art, n°142,  pp.&nbsp;45–83 Coquard, Olivier, \"Marat assassiné. Reconstitution abusive\" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, \" Morte di Marat e la Pietà di Michelangelo\" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,", "entry": "section", "prompt": "Concentrez-vous sur La Mort de Marat et expliquez la Bibliographie.Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "Louvre", "Mélanges de l'École française de Rome"]}
{"id": 1069, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "T J Clark, \"Painting in the Year Two\", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp.&nbsp;13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp.&nbsp;62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., \"An antique model for David's Marat\" in The Burlington Magazine CXXV, 967 , pp.&nbsp;605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp.&nbsp;131–144 Simon, Robert, \"David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation\" in Art History, vol.14, n°4 , pp.&nbsp;459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, \"Marat : du portrait à la peinture d'histoire\"] Malvone, ura, \"L'Évènement politique en peinture. A propos du Marat de David\" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, \"Un album inédit de David\", Revue de l’Art, n°142,  pp.&nbsp;45–83 Coquard, Olivier, \"Marat assassiné. Reconstitution abusive\" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, \" Morte di Marat e la Pietà di Michelangelo\" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,", "entry": "section", "prompt": "Expliquer la Bibliographie de cette œuvre d'art, La Mort de Marat.Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "Louvre", "Mélanges de l'École française de Rome"]}
{"id": 1070, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "T J Clark, \"Painting in the Year Two\", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp.&nbsp;13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp.&nbsp;62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., \"An antique model for David's Marat\" in The Burlington Magazine CXXV, 967 , pp.&nbsp;605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp.&nbsp;131–144 Simon, Robert, \"David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation\" in Art History, vol.14, n°4 , pp.&nbsp;459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, \"Marat : du portrait à la peinture d'histoire\"] Malvone, ura, \"L'Évènement politique en peinture. A propos du Marat de David\" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, \"Un album inédit de David\", Revue de l’Art, n°142,  pp.&nbsp;45–83 Coquard, Olivier, \"Marat assassiné. Reconstitution abusive\" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, \" Morte di Marat e la Pietà di Michelangelo\" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,", "entry": "section", "prompt": "Comment La Mort de Marat explique-t-il sa Bibliographie?Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "Louvre", "Mélanges de l'École française de Rome"]}
{"id": 1071, "title": "La Mort de Marat", "en_title": "The Death of Marat", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Death_of_Marat_by_David.jpg/270px-Death_of_Marat_by_David.jpg", "reference": "T J Clark, \"Painting in the Year Two\", in Representations, No. 47, Special Issue: National Cultures before Nationalism , pp.&nbsp;13–63. Thibaudeau, M.A., Vie de David, Bruxelles  Delécluze, E., Louis David, son école et son temps, Paris,  re-edition Macula  – First-hand testimony by a pupil of David David, J.L., Le peintre Louis David 1748–1825. Souvenirs & Documents inédits par J.L. David son Petit-Fils, ed. Victor Havard, Paris  Holma, Klaus, David. Son évolution, son style, Paris  Adhé mar Jean, David. Naissance du génie d'un peintre, ed. Raoul Solar, Paris  Bowman, F.P., 'Le culte de Marat, figure de Jésus', Le Christ romantique, ed. Droz, Genève, pp.&nbsp;62 sq.  Wildenstein, Daniel et Guy, Documents complémentaires au catalogue de l’oeuvre de Louis David, Paris, Fondation Wildenstein  – fondamental source to track all influences constituting David's visual culture Starobinski, Jean, 1789, les emblèmes de la raison, ed. Flammarion, Paris  Schnapper, Antoine, David témoin de son temps, ed. Office du Livre, Fribourg  Kruft, H.-W., \"An antique model for David's Marat\" in The Burlington Magazine CXXV, 967 , pp.&nbsp;605–607; CXXVI, 973  Traeger, Jorg, Der Tod des Marat: Revolution des menschenbildes, ed. Prestel, München  Thévoz, Michel, Le théâtre du crime. Essai sur la peinture de David, éd. de Minuit, Paris  Guilhaumou, J.,  mort de Marat, ed. Complexe, Bruxelles  Mortier, R., ' mort de Marat dans l'imagerie révolutionnaire', Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, 6ème série, tome I, 10–11 , pp.&nbsp;131–144 Simon, Robert, \"David’s Martyr-Portrait of Le Peletier de Saint-Fargeau and the conundrums of Revolutionary Representation\" in Art History, vol.14, n°4 , pp.&nbsp;459–487 Sérullaz, Arlette, Inventaire général des dessins. Ecole française. Dessins de Jacques-Louis David 1748–1825, Paris  David contre David, actes du colloque au Louvre du 6–10 décembre 1989, éd. R. Michel, Paris  [M. Bleyl, \"Marat : du portrait à la peinture d'histoire\"] Malvone, ura, \"L'Évènement politique en peinture. A propos du Marat de David\" in Mélanges de l'École française de Rome. Italie et Méditerranée, n° 106, 1  Pacco, M., De Vouet à David. Peintures françaises du Musée d'Art Ancien, XVIIe et XVIIIe siècles, ed. MRBAB, Bruxelles  Hofmann, Werner, Une époque en rupture 1750–1830, Gallimard, Paris  Crow, T., Emulation. Making artists for Revolutionary France, ed. Yale University Press, New Haven London  Monneret, Sophie, David et le néoclassicisme, ed. Terrail, Paris  Robespierre, edited by Colin Haydon & William Doyle, Cambridge  jer-Burcharth, E., Necklines. The art of Jacques-Louis David after the Terror, ed. Yale University Press, New Haven London  Lee, S., David, ed. Phaidon, London ;  Aston, Nigel, Religion and Revolution in France, 1780–1804, McMillan, London  Jacques-Louis David’s Marat, edited by William Vaughan & Helen Weston, Cambridge  Rosenberg, Pierre & Louis-Antoine Prat, Jacques-Louis David 1748–1825. Catalogue raisonné des dessins, 2 volumes, éd. Leonardo Arte, Milan  Idem, Peronnet, Benjamin, \"Un album inédit de David\", Revue de l’Art, n°142,  pp.&nbsp;45–83 Coquard, Olivier, \"Marat assassiné. Reconstitution abusive\" in Historia Mensuel, n°691  Vanden Berghe, Marc & Ioana Plesca, Nouvelles perspectives sur la Mort de Marat: entre modèle jésuite et références mythologiques, Bruxelles  / New perspectives for David's Death of Marat, Brussels , available at the KBR, Brussels. Idem, Lepeletier de Saint-Fargeau sur son lit de mort par Jacques Louis-David : saint Sébastien révolutionnaire, miroir multiréférencé de Rome, Brussels , available at the KBR, Brussels. Sainte-Fare Garnot, N., Jacques-Louis David 1748–1825, Paris, Ed. Chaudun  Johnson, Dorothy, Jacques-Louis David: New Perspectives, University of Delaware Press  Guilhaumou, Jacques,  mort de Marat   Plume de Marat – Plumes sur Marat, pour une bibliographie générale, , Editions Pôle Nord, Bruxelles  Angelitti, Silvana, \" Morte di Marat e la Pietà di Michelangelo\" in  propaganda nella storia, sl, ,  Pesce, Luigi, Marat assassinato : il tema del braccio della morte : realismo caravagesco e ars moriendi in David, s.ed., sl,", "entry": "section", "prompt": "Dans La Mort de Marat, comment est discutée la Bibliographie?Veuillez sortir en anglais.", "section_entities": ["Jacques-Louis David", "Louvre", "Mélanges de l'École française de Rome"]}
{"id": 1072, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135&nbsp;million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.", "entry": "section", "prompt": "Concentrez-vous sur Portrait d'Adele Bloch-Bauer I et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Anschluss", "E. Randol Schoenberg", "Gustav Klimt", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Supreme Court of the United States", "Vienna", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1073, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135&nbsp;million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Anschluss", "E. Randol Schoenberg", "Gustav Klimt", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Supreme Court of the United States", "Vienna", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1074, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135&nbsp;million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.", "entry": "section", "prompt": "Comment Portrait d'Adele Bloch-Bauer I explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Anschluss", "E. Randol Schoenberg", "Gustav Klimt", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Supreme Court of the United States", "Vienna", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1075, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Woman in Gold }}dy in Gold }}Portrait of Adele Bloch-Bauer I  is an oil painting on canvas, with gold leaf, by Gustav Klimt, completed between 1903 and 1907. The portrait was commissioned by the sitter's husband, Ferdinand Bloch-Bauer, a Viennese and Jewish banker and sugar producer. The painting was stolen by the Nazis in 1941 and displayed at the Österreichische Galerie Belvedere. The portrait is the final and most fully representative work of Klimt's golden phase. It was the first of two depictions of Adele by Klimt—the second was completed in 1912; these were two of several works by the artist that the family owned.Adele died in 1925; her will asked that the artworks by Klimt be eventually left to the Galerie Belvedere, although these works belonged to Ferdinand, not her. Following the Anschluss of Austria by Nazi Germany, and due to the Nazi persecution of Jews, Ferdinand fled Vienna, and made his way to Switzerland, leaving behind much of his wealth, including his large art collection. The painting was stolen by the Nazis in 1941, along with the remainder of Ferdinand's assets, after a false charge of tax evasion was made against him. The lawyer acting on behalf of the German state gave the portrait to the Galerie Belvedere, claiming he was following the wishes Adele had made in her will. Ferdinand died in 1945; his will stated that his estate should go to his nephew and two nieces.In 1998 the Austrian investigative journalist Hubertus Czernin established that the Galerie Belvedere contained several works stolen from Jewish owners in the war and that the gallery had refused to return the art to their original owners or to acknowledge a theft had taken place. One of Ferdinand's nieces, Maria Altmann, hired the lawyer E. Randol Schoenberg to make a claim against the gallery for the return of five works by Klimt. In 2006 after a seven-year legal claim, which included a hearing in front of the Supreme Court of the United States, an arbitration committee in Vienna agreed that the painting, and others, had been stolen from the family and that it should be returned to Altmann. She sold it the same year for $135&nbsp;million, at the time a record price for a painting to the businessman and art collector Ronald uder to place the work in the Neue Galerie, the public New York–based gallery he co-founded.", "entry": "section", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Anschluss", "E. Randol Schoenberg", "Gustav Klimt", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Supreme Court of the United States", "Vienna", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1076, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as \"mosaic-like wall-grotesqueries\", \"bizarre\", \"absurdities\" and \"vulgarities\".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as \"an idol in a golden shrine\", while the critic Eduard Pötzl described the work as \"\" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others \"accused Klimt of endangering the autonomy of art\".", "entry": "section", "prompt": "Concentrez-vous sur Portrait d'Adele Bloch-Bauer I et expliquez la Réception.Veuillez sortir en anglais.", "section_entities": ["Tobias G. Natter", "Vienna"]}
{"id": 1077, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as \"mosaic-like wall-grotesqueries\", \"bizarre\", \"absurdities\" and \"vulgarities\".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as \"an idol in a golden shrine\", while the critic Eduard Pötzl described the work as \"\" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others \"accused Klimt of endangering the autonomy of art\".", "entry": "section", "prompt": "Expliquer la Réception de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Tobias G. Natter", "Vienna"]}
{"id": 1078, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as \"mosaic-like wall-grotesqueries\", \"bizarre\", \"absurdities\" and \"vulgarities\".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as \"an idol in a golden shrine\", while the critic Eduard Pötzl described the work as \"\" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others \"accused Klimt of endangering the autonomy of art\".", "entry": "section", "prompt": "Comment Portrait d'Adele Bloch-Bauer I explique-t-il sa Réception?Veuillez sortir en anglais.", "section_entities": ["Tobias G. Natter", "Vienna"]}
{"id": 1079, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Klimt exhibited his portrait at the 1907 Mannheim International Art Show, alongside the Portrait of Fritza Riedler . Many of the critics had negative reactions to the two paintings, describing them as \"mosaic-like wall-grotesqueries\", \"bizarre\", \"absurdities\" and \"vulgarities\".In 1908 the portrait was exhibited at the  in Vienna where critical reaction was mixed. The unnamed reviewer from the Wiener Allgemeine Zeitung described the painting as \"an idol in a golden shrine\", while the critic Eduard Pötzl described the work as \"\" .group=n}} According to the art historian Tobias G. Natter, some critics disapproved of the loss of the sitter's individuality, while others \"accused Klimt of endangering the autonomy of art\".", "entry": "section", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment est discutée la Réception?Veuillez sortir en anglais.", "section_entities": ["Tobias G. Natter", "Vienna"]}
{"id": 1080, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7&nbsp;million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had \"tried to do good things with the money\". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.", "entry": "section", "prompt": "Concentrez-vous sur Portrait d'Adele Bloch-Bauer I et expliquez la Héritage.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Amy Sherald", "Gregor Collins", "Gustav Klimt", "Helen Mirren", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Melissa Müller", "Ryan Reynolds", "Stealing Klimt", "The Accidental Caregiver", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1081, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7&nbsp;million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had \"tried to do good things with the money\". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.", "entry": "section", "prompt": "Expliquer la Héritage de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Amy Sherald", "Gregor Collins", "Gustav Klimt", "Helen Mirren", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Melissa Müller", "Ryan Reynolds", "Stealing Klimt", "The Accidental Caregiver", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1082, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7&nbsp;million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had \"tried to do good things with the money\". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.", "entry": "section", "prompt": "Comment Portrait d'Adele Bloch-Bauer I explique-t-il sa Héritage?Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Amy Sherald", "Gregor Collins", "Gustav Klimt", "Helen Mirren", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Melissa Müller", "Ryan Reynolds", "Stealing Klimt", "The Accidental Caregiver", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1083, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The history of the Portrait of Adele Bloch-Bauer I and the other paintings taken from the Bloch-Bauers has been recounted in three documentary films, Stealing Klimt , The Rape of Europa  and Adele's Wish . The painting's history is described in the 2012 book The dy in Gold: The Extraordinary Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, by the journalist Anne-Marie O'Connor. The history, as well as other stories of other stolen art, is told by Melissa Müller and Monika Tatzkow in Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice, published in 2010. The story of Adele Bloch-Bauer and Maria Altmann formed the basis for the 2017 novel Stolen Beauty by urie Lico Albanese. The portrait is featured in the memoir of Gregor Collins, The Accidental Caregiver, about his relationship with Maria Altmann, published in August 2012. The book was dramatised for the stage in January 2015. In 2015 Altmann's story was dramatised for the film Woman in Gold starring Helen Mirren as Maria and Ryan Reynolds as Schoenberg.Altmann died in February 2011, aged 94. Schoenberg, who had worked on a 40 per cent conditional fee throughout, received $54 million for the sale of Portrait of Adele Bloch-Bauer I and $55 million for the sale of the remaining four paintings. After he donated over $7&nbsp;million for the building of the new premises of the Los Angeles Museum of the Holocaust, he said that he had \"tried to do good things with the money\". He subsequently specialised in the restitution of artwork plundered by the Nazis.Elements of the portrait have been noted by art critics to have influenced the painting First dy Michelle Obama, by Amy Sherald in 2018.", "entry": "section", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment est discutée la Héritage?Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Amy Sherald", "Gregor Collins", "Gustav Klimt", "Helen Mirren", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Melissa Müller", "Ryan Reynolds", "Stealing Klimt", "The Accidental Caregiver", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1084, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made \"an extreme and lasting contribution to the history of modern art\". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the \"hypocritical boundaries of respectability set by Viennese society\"; according to the art historian Susanna Partsch, he was \"the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women\". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were \"buying the innovative new art that state museums rejected\", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting \"underlines the essential erotic ingredient in&nbsp;... [Klimt's] view of the world\". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Gustav Klimt et la nul.Veuillez sortir en anglais.", "section_entities": ["Art Nouveau", "Arts and Crafts movement", "Aubrey Beardsley", "Austria-Hungary", "Fernand Khnopff", "Franz von Matsch", "Gustav Klimt", "Jan Toorop", "University of Vienna", "Vienna", "Vienna Secession"]}
{"id": 1085, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made \"an extreme and lasting contribution to the history of modern art\". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the \"hypocritical boundaries of respectability set by Viennese society\"; according to the art historian Susanna Partsch, he was \"the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women\". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were \"buying the innovative new art that state museums rejected\", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting \"underlines the essential erotic ingredient in&nbsp;... [Klimt's] view of the world\". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.", "entry": "subsection", "prompt": "Expliquer la Gustav Klimt concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Art Nouveau", "Arts and Crafts movement", "Aubrey Beardsley", "Austria-Hungary", "Fernand Khnopff", "Franz von Matsch", "Gustav Klimt", "Jan Toorop", "University of Vienna", "Vienna", "Vienna Secession"]}
{"id": 1086, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made \"an extreme and lasting contribution to the history of modern art\". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the \"hypocritical boundaries of respectability set by Viennese society\"; according to the art historian Susanna Partsch, he was \"the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women\". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were \"buying the innovative new art that state museums rejected\", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting \"underlines the essential erotic ingredient in&nbsp;... [Klimt's] view of the world\". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Gustav Klimt de la nul est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Art Nouveau", "Arts and Crafts movement", "Aubrey Beardsley", "Austria-Hungary", "Fernand Khnopff", "Franz von Matsch", "Gustav Klimt", "Jan Toorop", "University of Vienna", "Vienna", "Vienna Secession"]}
{"id": 1087, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made \"an extreme and lasting contribution to the history of modern art\". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the \"hypocritical boundaries of respectability set by Viennese society\"; according to the art historian Susanna Partsch, he was \"the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women\". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were \"buying the innovative new art that state museums rejected\", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting \"underlines the essential erotic ingredient in&nbsp;... [Klimt's] view of the world\". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Gustav Klimt dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Art Nouveau", "Arts and Crafts movement", "Aubrey Beardsley", "Austria-Hungary", "Fernand Khnopff", "Franz von Matsch", "Gustav Klimt", "Jan Toorop", "University of Vienna", "Vienna", "Vienna Secession"]}
{"id": 1088, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was \"the only society lady painted by Klimt who is known definitely to be his mistress\", while the journalist Melissa Müller and the academic Monica Tatzkow write that \"no evidence has ever been produced that their relationship was more than a friendship\". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an \"idealised portrait of Adele\". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is \"widely known and interpreted as Salome\". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as \"Klimt's most erotic painting\". Whitford also writes that the painting displays \"apparent evidence of&nbsp;... cuckoldry\". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Ferdinand et Adele Bloch-Bauer et la nul.Veuillez sortir en anglais.", "section_entities": ["Austria-Hungary", "Judith and the Head of Holofernes", "Melissa Müller", "Wiener Bankverein"]}
{"id": 1089, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was \"the only society lady painted by Klimt who is known definitely to be his mistress\", while the journalist Melissa Müller and the academic Monica Tatzkow write that \"no evidence has ever been produced that their relationship was more than a friendship\". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an \"idealised portrait of Adele\". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is \"widely known and interpreted as Salome\". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as \"Klimt's most erotic painting\". Whitford also writes that the painting displays \"apparent evidence of&nbsp;... cuckoldry\". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}", "entry": "subsection", "prompt": "Expliquer la Ferdinand et Adele Bloch-Bauer concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Austria-Hungary", "Judith and the Head of Holofernes", "Melissa Müller", "Wiener Bankverein"]}
{"id": 1090, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was \"the only society lady painted by Klimt who is known definitely to be his mistress\", while the journalist Melissa Müller and the academic Monica Tatzkow write that \"no evidence has ever been produced that their relationship was more than a friendship\". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an \"idealised portrait of Adele\". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is \"widely known and interpreted as Salome\". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as \"Klimt's most erotic painting\". Whitford also writes that the painting displays \"apparent evidence of&nbsp;... cuckoldry\". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Ferdinand et Adele Bloch-Bauer de la nul est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Austria-Hungary", "Judith and the Head of Holofernes", "Melissa Müller", "Wiener Bankverein"]}
{"id": 1091, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was \"the only society lady painted by Klimt who is known definitely to be his mistress\", while the journalist Melissa Müller and the academic Monica Tatzkow write that \"no evidence has ever been produced that their relationship was more than a friendship\". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an \"idealised portrait of Adele\". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is \"widely known and interpreted as Salome\". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as \"Klimt's most erotic painting\". Whitford also writes that the painting displays \"apparent evidence of&nbsp;... cuckoldry\". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Ferdinand et Adele Bloch-Bauer dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Austria-Hungary", "Judith and the Head of Holofernes", "Melissa Müller", "Wiener Bankverein"]}
{"id": 1092, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that \"the mosaics made an immense decisive impression on&nbsp;... [Klimt]. From this comes the resplendence, the stiff decoration of his art\". Klimt later said that the \"mosaics of unbelievable splendour\" were a \"revelation\" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Préparation, exécution et la nul.Veuillez sortir en anglais.", "section_entities": ["Basilica of San Vitale", "Clive Bell", "Josef Hoffmann", "Justinian I", "Maximilian Lenz", "Wassily Kandinsky"]}
{"id": 1093, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that \"the mosaics made an immense decisive impression on&nbsp;... [Klimt]. From this comes the resplendence, the stiff decoration of his art\". Klimt later said that the \"mosaics of unbelievable splendour\" were a \"revelation\" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.", "entry": "subsection", "prompt": "Expliquer la Préparation, exécution concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Basilica of San Vitale", "Clive Bell", "Josef Hoffmann", "Justinian I", "Maximilian Lenz", "Wassily Kandinsky"]}
{"id": 1094, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that \"the mosaics made an immense decisive impression on&nbsp;... [Klimt]. From this comes the resplendence, the stiff decoration of his art\". Klimt later said that the \"mosaics of unbelievable splendour\" were a \"revelation\" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Préparation, exécution de la nul est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Basilica of San Vitale", "Clive Bell", "Josef Hoffmann", "Justinian I", "Maximilian Lenz", "Wassily Kandinsky"]}
{"id": 1095, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that \"the mosaics made an immense decisive impression on&nbsp;... [Klimt]. From this comes the resplendence, the stiff decoration of his art\". Klimt later said that the \"mosaics of unbelievable splendour\" were a \"revelation\" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Préparation, exécution dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Basilica of San Vitale", "Clive Bell", "Josef Hoffmann", "Justinian I", "Maximilian Lenz", "Wassily Kandinsky"]}
{"id": 1096, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that \"one comes across the model almost by accident, so enveloped is she in the thick geometric scheme\". Peter Vergo, writing for Grove Art, considers that the painting \"marks the height of&nbsp;... [Klimt's] gold-encrusted manner of painting\".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to \"remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence\"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting \"seem[s] to embody femininity\" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears \"melancholy and vulnerable, unapproachably aloof and yet rapt\".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that \"the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek\".", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Description et la nul.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Mona Lisa", "Neue Galerie New York"]}
{"id": 1097, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that \"one comes across the model almost by accident, so enveloped is she in the thick geometric scheme\". Peter Vergo, writing for Grove Art, considers that the painting \"marks the height of&nbsp;... [Klimt's] gold-encrusted manner of painting\".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to \"remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence\"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting \"seem[s] to embody femininity\" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears \"melancholy and vulnerable, unapproachably aloof and yet rapt\".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that \"the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek\".", "entry": "subsection", "prompt": "Expliquer la Description concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Mona Lisa", "Neue Galerie New York"]}
{"id": 1098, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that \"one comes across the model almost by accident, so enveloped is she in the thick geometric scheme\". Peter Vergo, writing for Grove Art, considers that the painting \"marks the height of&nbsp;... [Klimt's] gold-encrusted manner of painting\".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to \"remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence\"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting \"seem[s] to embody femininity\" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears \"melancholy and vulnerable, unapproachably aloof and yet rapt\".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that \"the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek\".", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Description de la nul est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Mona Lisa", "Neue Galerie New York"]}
{"id": 1099, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that \"one comes across the model almost by accident, so enveloped is she in the thick geometric scheme\". Peter Vergo, writing for Grove Art, considers that the painting \"marks the height of&nbsp;... [Klimt's] gold-encrusted manner of painting\".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to \"remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence\"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting \"seem[s] to embody femininity\" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears \"melancholy and vulnerable, unapproachably aloof and yet rapt\".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that \"the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek\".", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Description dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Mona Lisa", "Neue Galerie New York"]}
{"id": 1100, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which \"the erotic charge of the likeness of 1907 has been spent\", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4&nbsp;million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la mille neuf cent douze–mille neuf cent quarante-cinq et la nul.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Adolf Hitler", "Anschluss", "Friedrich Führer", "Gustav Ucicky", "Hermann Göring", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Munich Agreement", "Obergruppenführer", "Reichsmark", "Reinhard Heydrich", "Vienna", "Vienna Secession", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1101, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which \"the erotic charge of the likeness of 1907 has been spent\", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4&nbsp;million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .", "entry": "subsection", "prompt": "Expliquer la mille neuf cent douze–mille neuf cent quarante-cinq concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Adolf Hitler", "Anschluss", "Friedrich Führer", "Gustav Ucicky", "Hermann Göring", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Munich Agreement", "Obergruppenführer", "Reichsmark", "Reinhard Heydrich", "Vienna", "Vienna Secession", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1102, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which \"the erotic charge of the likeness of 1907 has been spent\", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4&nbsp;million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la mille neuf cent douze–mille neuf cent quarante-cinq de la nul est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Adolf Hitler", "Anschluss", "Friedrich Führer", "Gustav Ucicky", "Hermann Göring", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Munich Agreement", "Obergruppenführer", "Reichsmark", "Reinhard Heydrich", "Vienna", "Vienna Secession", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1103, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which \"the erotic charge of the likeness of 1907 has been spent\", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4&nbsp;million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la mille neuf cent douze–mille neuf cent quarante-cinq dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Adolf Hitler", "Anschluss", "Friedrich Führer", "Gustav Ucicky", "Hermann Göring", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Munich Agreement", "Obergruppenführer", "Reichsmark", "Reinhard Heydrich", "Vienna", "Vienna Secession", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1104, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act,, 4 December 1998, Federal w Gazette 1998/181.group=n}} which looked again at the question of art stolen by the Nazis.group=n}} The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as \"a double crime\".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna.group=n}} They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing , would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act . The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann.group=n}} In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel.group=n}} Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery., Vienna. On her death she left the painting to the Galerie Belvedere. Altmann claimed the transfer was through an illegal act by Führer; the Zuckerkandl heirs claimed the printing was donated freely by Ferdinand. With no clear evidence to show the transfer from Ferdinand had been coerced or illegal, the panel stated that the Restitution Act did not apply, and the painting should remain with the Galerie Belvedere.group=n}}After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said \"Ciao Adele\", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated \"I would not want any private person to buy these paintings,&nbsp;... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt.\" In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald uder for $135&nbsp;million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and \"uder's passion for and pursuit of this particular work\". uder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that \"A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.\" Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9&nbsp;million, Apfelbaum I for $33&nbsp;million, Buchenwald for $40.3&nbsp;million and Häuser in Unterach am Attersee for $31&nbsp;million. All went to private collections.", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Depuis 1945 et la nul.Veuillez sortir en anglais.", "section_entities": ["ARTnews", "Adele Bloch-Bauer", "Adele Bloch-Bauer", "Christie's", "E. Randol Schoenberg", "Expressionism", "Foreign Sovereign Immunities Act", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Los Angeles County Museum of Art", "Maria Altmann", "Michael Kimmelman", "Republic of Austria v. Altmann", "Vienna", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1105, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act,, 4 December 1998, Federal w Gazette 1998/181.group=n}} which looked again at the question of art stolen by the Nazis.group=n}} The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as \"a double crime\".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna.group=n}} They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing , would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act . The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann.group=n}} In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel.group=n}} Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery., Vienna. On her death she left the painting to the Galerie Belvedere. Altmann claimed the transfer was through an illegal act by Führer; the Zuckerkandl heirs claimed the printing was donated freely by Ferdinand. With no clear evidence to show the transfer from Ferdinand had been coerced or illegal, the panel stated that the Restitution Act did not apply, and the painting should remain with the Galerie Belvedere.group=n}}After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said \"Ciao Adele\", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated \"I would not want any private person to buy these paintings,&nbsp;... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt.\" In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald uder for $135&nbsp;million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and \"uder's passion for and pursuit of this particular work\". uder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that \"A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.\" Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9&nbsp;million, Apfelbaum I for $33&nbsp;million, Buchenwald for $40.3&nbsp;million and Häuser in Unterach am Attersee for $31&nbsp;million. All went to private collections.", "entry": "subsection", "prompt": "Expliquer la Depuis 1945 concernant la nul de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["ARTnews", "Adele Bloch-Bauer", "Adele Bloch-Bauer", "Christie's", "E. Randol Schoenberg", "Expressionism", "Foreign Sovereign Immunities Act", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Los Angeles County Museum of Art", "Maria Altmann", "Michael Kimmelman", "Republic of Austria v. Altmann", "Vienna", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1106, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act,, 4 December 1998, Federal w Gazette 1998/181.group=n}} which looked again at the question of art stolen by the Nazis.group=n}} The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as \"a double crime\".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna.group=n}} They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing , would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act . The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann.group=n}} In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel.group=n}} Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery., Vienna. On her death she left the painting to the Galerie Belvedere. Altmann claimed the transfer was through an illegal act by Führer; the Zuckerkandl heirs claimed the printing was donated freely by Ferdinand. With no clear evidence to show the transfer from Ferdinand had been coerced or illegal, the panel stated that the Restitution Act did not apply, and the painting should remain with the Galerie Belvedere.group=n}}After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said \"Ciao Adele\", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated \"I would not want any private person to buy these paintings,&nbsp;... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt.\" In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald uder for $135&nbsp;million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and \"uder's passion for and pursuit of this particular work\". uder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that \"A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.\" Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9&nbsp;million, Apfelbaum I for $33&nbsp;million, Buchenwald for $40.3&nbsp;million and Häuser in Unterach am Attersee for $31&nbsp;million. All went to private collections.", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Depuis 1945 de la nul est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["ARTnews", "Adele Bloch-Bauer", "Adele Bloch-Bauer", "Christie's", "E. Randol Schoenberg", "Expressionism", "Foreign Sovereign Immunities Act", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Los Angeles County Museum of Art", "Maria Altmann", "Michael Kimmelman", "Republic of Austria v. Altmann", "Vienna", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1107, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act,, 4 December 1998, Federal w Gazette 1998/181.group=n}} which looked again at the question of art stolen by the Nazis.group=n}} The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as \"a double crime\".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna.group=n}} They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing , would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act . The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann.group=n}} In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel.group=n}} Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery., Vienna. On her death she left the painting to the Galerie Belvedere. Altmann claimed the transfer was through an illegal act by Führer; the Zuckerkandl heirs claimed the printing was donated freely by Ferdinand. With no clear evidence to show the transfer from Ferdinand had been coerced or illegal, the panel stated that the Restitution Act did not apply, and the painting should remain with the Galerie Belvedere.group=n}}After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said \"Ciao Adele\", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated \"I would not want any private person to buy these paintings,&nbsp;... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt.\" In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald uder for $135&nbsp;million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and \"uder's passion for and pursuit of this particular work\". uder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that \"A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.\" Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9&nbsp;million, Apfelbaum I for $33&nbsp;million, Buchenwald for $40.3&nbsp;million and Häuser in Unterach am Attersee for $31&nbsp;million. All went to private collections.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Depuis 1945 dans la nul de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["ARTnews", "Adele Bloch-Bauer", "Adele Bloch-Bauer", "Christie's", "E. Randol Schoenberg", "Expressionism", "Foreign Sovereign Immunities Act", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Los Angeles County Museum of Art", "Maria Altmann", "Michael Kimmelman", "Republic of Austria v. Altmann", "Vienna", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1108, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsubsection", "prompt": "En vous concentrant sur la nul de Portrait d'Adele Bloch-Bauer I, expliquez la Journaux et journaux. concernant la Héritage.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1109, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsubsection", "prompt": "Expliquer la Journaux et journaux. concernant la Héritage de la nul dans cette œuvre, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1110, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsubsection", "prompt": "Concernant Portrait d'Adele Bloch-Bauer I, comment la Héritage de la nul intègre-t-elle la Journaux et journaux.?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1111, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsubsection", "prompt": "En examinant la nul de Portrait d'Adele Bloch-Bauer I, comment discutez-vous la Journaux et journaux. de la Héritage?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1112, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsubsection", "prompt": "En vous concentrant sur la nul de Portrait d'Adele Bloch-Bauer I, expliquez la Internet et médias télévisés concernant la Héritage.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1113, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsubsection", "prompt": "Expliquer la Internet et médias télévisés concernant la Héritage de la nul dans cette œuvre, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1114, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsubsection", "prompt": "Concernant Portrait d'Adele Bloch-Bauer I, comment la Héritage de la nul intègre-t-elle la Internet et médias télévisés?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1115, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsubsection", "prompt": "En examinant la nul de Portrait d'Adele Bloch-Bauer I, comment discutez-vous la Internet et médias télévisés de la Héritage?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1116, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made \"an extreme and lasting contribution to the history of modern art\". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the \"hypocritical boundaries of respectability set by Viennese society\"; according to the art historian Susanna Partsch, he was \"the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women\". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were \"buying the innovative new art that state museums rejected\", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting \"underlines the essential erotic ingredient in&nbsp;... [Klimt's] view of the world\". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Gustav Klimt et la Réception.Veuillez sortir en anglais.", "section_entities": ["Art Nouveau", "Arts and Crafts movement", "Aubrey Beardsley", "Austria-Hungary", "Fernand Khnopff", "Franz von Matsch", "Gustav Klimt", "Jan Toorop", "University of Vienna", "Vienna", "Vienna Secession"]}
{"id": 1117, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made \"an extreme and lasting contribution to the history of modern art\". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the \"hypocritical boundaries of respectability set by Viennese society\"; according to the art historian Susanna Partsch, he was \"the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women\". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were \"buying the innovative new art that state museums rejected\", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting \"underlines the essential erotic ingredient in&nbsp;... [Klimt's] view of the world\". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.", "entry": "subsection", "prompt": "Expliquer la Gustav Klimt concernant la Réception de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Art Nouveau", "Arts and Crafts movement", "Aubrey Beardsley", "Austria-Hungary", "Fernand Khnopff", "Franz von Matsch", "Gustav Klimt", "Jan Toorop", "University of Vienna", "Vienna", "Vienna Secession"]}
{"id": 1118, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made \"an extreme and lasting contribution to the history of modern art\". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the \"hypocritical boundaries of respectability set by Viennese society\"; according to the art historian Susanna Partsch, he was \"the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women\". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were \"buying the innovative new art that state museums rejected\", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting \"underlines the essential erotic ingredient in&nbsp;... [Klimt's] view of the world\". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Gustav Klimt de la Réception est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Art Nouveau", "Arts and Crafts movement", "Aubrey Beardsley", "Austria-Hungary", "Fernand Khnopff", "Franz von Matsch", "Gustav Klimt", "Jan Toorop", "University of Vienna", "Vienna", "Vienna Secession"]}
{"id": 1119, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "Gustav Klimt was born in 1862 in Baumgarten, near Vienna in Austria-Hungary. He attended the Vienna School of Arts and Crafts  before taking on commissions with his brother, Ernst, and a fellow-student Franz von Matsch from 1879. Over the next decade, alongside several private commissions for portraiture, they painted interior murals and ceilings in large public buildings, including the , the  and the ceiling of the Great Hall at the University of Vienna.Klimt worked in Vienna during the , during which time the city made \"an extreme and lasting contribution to the history of modern art\". During the 1890s he was influenced by European avant-garde art, including the works of the painters Fernand Khnopff, Jan Toorop and Aubrey Beardsley. In 1897 he was a founding member and president of the Vienna Secession, a group of artists who wanted to break with what they saw as the prevailing conservatism of the Viennese . Klimt in particular challenged what he saw as the \"hypocritical boundaries of respectability set by Viennese society\"; according to the art historian Susanna Partsch, he was \"the  of the Viennese art scene, [and] was acknowledged to be the painter of beautiful women\". By 1900 he was the preferred portrait painter of the wives of the largely Jewish Viennese bourgeoisie, an emerging class of self-made industrialists who were \"buying the innovative new art that state museums rejected\", according to the journalist Anne-Marie O'Connor.From 1898 Klimt began to experiment with the style in what became known as his Byzantine or Golden period, when his works, stylistically influenced by Art Nouveau and the Arts and Crafts movement, were gilded with gold leaf. Néret writes that the period begins in 1906 and ends in 1909.group=n}} Klimt had begun using gold in his 1890 portrait of the pianist Joseph Pembauer, but his first work that included a golden theme was Pallas Athene . The art historian Gilles Néret considers that the use of gold in the painting \"underlines the essential erotic ingredient in&nbsp;... [Klimt's] view of the world\". Néret also states that Klimt used the gold to give subjects a sacred or magical quality.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Gustav Klimt dans la Réception de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Art Nouveau", "Arts and Crafts movement", "Aubrey Beardsley", "Austria-Hungary", "Fernand Khnopff", "Franz von Matsch", "Gustav Klimt", "Jan Toorop", "University of Vienna", "Vienna", "Vienna Secession"]}
{"id": 1120, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was \"the only society lady painted by Klimt who is known definitely to be his mistress\", while the journalist Melissa Müller and the academic Monica Tatzkow write that \"no evidence has ever been produced that their relationship was more than a friendship\". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an \"idealised portrait of Adele\". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is \"widely known and interpreted as Salome\". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as \"Klimt's most erotic painting\". Whitford also writes that the painting displays \"apparent evidence of&nbsp;... cuckoldry\". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Ferdinand et Adele Bloch-Bauer et la Réception.Veuillez sortir en anglais.", "section_entities": ["Austria-Hungary", "Judith and the Head of Holofernes", "Melissa Müller", "Wiener Bankverein"]}
{"id": 1121, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was \"the only society lady painted by Klimt who is known definitely to be his mistress\", while the journalist Melissa Müller and the academic Monica Tatzkow write that \"no evidence has ever been produced that their relationship was more than a friendship\". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an \"idealised portrait of Adele\". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is \"widely known and interpreted as Salome\". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as \"Klimt's most erotic painting\". Whitford also writes that the painting displays \"apparent evidence of&nbsp;... cuckoldry\". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}", "entry": "subsection", "prompt": "Expliquer la Ferdinand et Adele Bloch-Bauer concernant la Réception de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Austria-Hungary", "Judith and the Head of Holofernes", "Melissa Müller", "Wiener Bankverein"]}
{"id": 1122, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was \"the only society lady painted by Klimt who is known definitely to be his mistress\", while the journalist Melissa Müller and the academic Monica Tatzkow write that \"no evidence has ever been produced that their relationship was more than a friendship\". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an \"idealised portrait of Adele\". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is \"widely known and interpreted as Salome\". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as \"Klimt's most erotic painting\". Whitford also writes that the painting displays \"apparent evidence of&nbsp;... cuckoldry\". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Ferdinand et Adele Bloch-Bauer de la Réception est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Austria-Hungary", "Judith and the Head of Holofernes", "Melissa Müller", "Wiener Bankverein"]}
{"id": 1123, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "image2 = Detail of Judith I by Klimt.jpg width2 = 220 height2 =  alt2 =  caption2 = Detail of Judith I , for which Adele modelled}} was from a wealthy Jewish Viennese family. Her father was a director of the Wiener Bankverein, the seventh largest bank in Austria-Hungary, and the general director of the Oriental Railway. In the late 1890s Adele met Klimt, and may have begun a relationship with him. Opinion is divided on whether Adele and Klimt had an affair. The artist Catherine Dean considered that Adele was \"the only society lady painted by Klimt who is known definitely to be his mistress\", while the journalist Melissa Müller and the academic Monica Tatzkow write that \"no evidence has ever been produced that their relationship was more than a friendship\". The author Frank Whitford observes that some of the preliminary sketches that Klimt made for The Kiss showed a bearded figure which was possibly a self-portrait; the female partner is described by Whitford as an \"idealised portrait of Adele\". Whitford writes that the only evidence put forward to support the theory is the position of the woman's right hand, as Adele had a disfigured finger following a childhood accident.Adele's parents arranged a marriage with Ferdinand Bloch, a banker and sugar manufacturer; Adele's older sister had previously married Ferdinand's older brother. Ferdinand was older than his fiancée and at the time of the marriage in December 1899, she was 18 and he was 35. The couple, who had no children, both changed their surnames to Bloch-Bauer. Socially well-connected, Adele brought together writers, politicians and intellectuals for regular salons at their home.group=n}}The couple shared a love of art and patronised several artists, collecting primarily nineteenth-century Viennese paintings and modern sculpture. Ferdinand also had a passion for neoclassical porcelain, and by 1934 his collection was over 400 pieces and one of the finest in the world.In 1901 Klimt painted Judith and the Head of Holofernes; the art historian Gottfried Fliedl observes that the painting is \"widely known and interpreted as Salome\". Adele was the model for the work and wore a heavily jewelled deep choker given to her by Ferdinand, in what Whitford describes as \"Klimt's most erotic painting\". Whitford also writes that the painting displays \"apparent evidence of&nbsp;... cuckoldry\". In 1903 Ferdinand purchased his first Klimt work from the artist, Buchenwald .group=n}}", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Ferdinand et Adele Bloch-Bauer dans la Réception de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Austria-Hungary", "Judith and the Head of Holofernes", "Melissa Müller", "Wiener Bankverein"]}
{"id": 1124, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that \"the mosaics made an immense decisive impression on&nbsp;... [Klimt]. From this comes the resplendence, the stiff decoration of his art\". Klimt later said that the \"mosaics of unbelievable splendour\" were a \"revelation\" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Préparation, exécution et la Réception.Veuillez sortir en anglais.", "section_entities": ["Basilica of San Vitale", "Clive Bell", "Josef Hoffmann", "Justinian I", "Maximilian Lenz", "Wassily Kandinsky"]}
{"id": 1125, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that \"the mosaics made an immense decisive impression on&nbsp;... [Klimt]. From this comes the resplendence, the stiff decoration of his art\". Klimt later said that the \"mosaics of unbelievable splendour\" were a \"revelation\" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.", "entry": "subsection", "prompt": "Expliquer la Préparation, exécution concernant la Réception de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Basilica of San Vitale", "Clive Bell", "Josef Hoffmann", "Justinian I", "Maximilian Lenz", "Wassily Kandinsky"]}
{"id": 1126, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that \"the mosaics made an immense decisive impression on&nbsp;... [Klimt]. From this comes the resplendence, the stiff decoration of his art\". Klimt later said that the \"mosaics of unbelievable splendour\" were a \"revelation\" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Préparation, exécution de la Réception est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Basilica of San Vitale", "Clive Bell", "Josef Hoffmann", "Justinian I", "Maximilian Lenz", "Wassily Kandinsky"]}
{"id": 1127, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "1903 image2    = Theodora mosaic - Basilica San Vitale .jpg width2    = 225 height2   =  alt2      =  caption2  = The mosaic of Empress Theodora at the Basilica of San Vitale, Ravenna}}In mid-1903 Ferdinand Bloch-Bauer commissioned Klimt to paint a portrait of his wife; he wished to give the piece to Adele's parents as an anniversary present that October. Klimt drew over a hundred preparatory sketches for the portrait between 1903 and 1904.group=n}} The Bloch-Bauers purchased some of the sketches he had made of Adele when they obtained 16 Klimt drawings. In December 1903, along with fellow artist Maximilian Lenz, Klimt visited the Basilica of San Vitale in Ravenna where he studied the early-Christian Byzantine gold ground mosaics of Justinian I and his wife, Empress Theodora. Lenz later wrote that \"the mosaics made an immense decisive impression on&nbsp;... [Klimt]. From this comes the resplendence, the stiff decoration of his art\". Klimt later said that the \"mosaics of unbelievable splendour\" were a \"revelation\" to him. The Ravenna mosaics also attracted the attention of other artists who provided illustrations of the work, including Wassily Kandinsky in 1911 and Clive Bell in 1914.Klimt undertook more extensive preparations for the portrait than any other piece he worked on.  Much of the portrait was undertaken by an elaborate technique of using gold and silver leaf and then adding decorative motifs in bas-relief using gesso, a paint mixture consisting of a binder mixed with chalk or gypsum. The frame for the painting, covered in gold leaf, was made by the architect Josef Hoffmann. Klimt finished the work by 1907.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Préparation, exécution dans la Réception de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Basilica of San Vitale", "Clive Bell", "Josef Hoffmann", "Justinian I", "Maximilian Lenz", "Wassily Kandinsky"]}
{"id": 1128, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that \"one comes across the model almost by accident, so enveloped is she in the thick geometric scheme\". Peter Vergo, writing for Grove Art, considers that the painting \"marks the height of&nbsp;... [Klimt's] gold-encrusted manner of painting\".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to \"remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence\"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting \"seem[s] to embody femininity\" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears \"melancholy and vulnerable, unapproachably aloof and yet rapt\".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that \"the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek\".", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Description et la Réception.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Mona Lisa", "Neue Galerie New York"]}
{"id": 1129, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that \"one comes across the model almost by accident, so enveloped is she in the thick geometric scheme\". Peter Vergo, writing for Grove Art, considers that the painting \"marks the height of&nbsp;... [Klimt's] gold-encrusted manner of painting\".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to \"remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence\"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting \"seem[s] to embody femininity\" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears \"melancholy and vulnerable, unapproachably aloof and yet rapt\".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that \"the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek\".", "entry": "subsection", "prompt": "Expliquer la Description concernant la Réception de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Mona Lisa", "Neue Galerie New York"]}
{"id": 1130, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that \"one comes across the model almost by accident, so enveloped is she in the thick geometric scheme\". Peter Vergo, writing for Grove Art, considers that the painting \"marks the height of&nbsp;... [Klimt's] gold-encrusted manner of painting\".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to \"remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence\"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting \"seem[s] to embody femininity\" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears \"melancholy and vulnerable, unapproachably aloof and yet rapt\".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that \"the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek\".", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Description de la Réception est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Mona Lisa", "Neue Galerie New York"]}
{"id": 1131, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "The painting measures ;.group=n}} it is composed of oil paint and silver and gold leaf on canvas. The portrait shows Adele Bloch-Bauer sitting on a golden throne or chair, in front of a golden starry background. Around her neck is the same jewelled choker Klimt included in the Judith painting. She wears a tight golden dress in a triangular shape, made up of rectilinear forms. In places the dress merges into the background so much so that the museum curator Jan Thompson writes that \"one comes across the model almost by accident, so enveloped is she in the thick geometric scheme\". Peter Vergo, writing for Grove Art, considers that the painting \"marks the height of&nbsp;... [Klimt's] gold-encrusted manner of painting\".Adele's hair, face, décolletage and hands are painted in oil; they make up less than a twelfth of the work and, in Whitford's opinion, convey little about the sitter's character. For Whitford the effect of the gold background is to \"remove Adele Bloch-Bauer from the earthly plane, transform the flesh and blood into an apparition from a dream of sensuality and self-indulgence\"; he, and Thomson, consider the work to look more like a religious icon than a secular portrait. O'Connor writes that the painting \"seem[s] to embody femininity\" and thus likens it to the Mona Lisa, while for Müller and Tatzkow, the gold gives the effect that Adele appears \"melancholy and vulnerable, unapproachably aloof and yet rapt\".Both the current holder of the portrait—the Neue Galerie New York—and the art historian Elana Shapira describe how the background and gown contain symbols suggestive of erotica, including triangles, eggs, shapes of eyes and almonds. Also present are decorative motifs on the theme of the letters A and B, the sitter's initials. Whitford identifies influences of the art of the Byzantine, Egypt, Mycenae and Greece, describing that \"the gold is like that in Byzantine mosaics; the eyes on the dress are Egyptian, the repeated coils and whorls Mycenaean, while other decorative devices, based on the initial letters of the sitter's name, are vaguely Greek\".", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Description dans la Réception de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Mona Lisa", "Neue Galerie New York"]}
{"id": 1132, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which \"the erotic charge of the likeness of 1907 has been spent\", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4&nbsp;million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la mille neuf cent douze–mille neuf cent quarante-cinq et la Réception.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Adolf Hitler", "Anschluss", "Friedrich Führer", "Gustav Ucicky", "Hermann Göring", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Munich Agreement", "Obergruppenführer", "Reichsmark", "Reinhard Heydrich", "Vienna", "Vienna Secession", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1133, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which \"the erotic charge of the likeness of 1907 has been spent\", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4&nbsp;million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .", "entry": "subsection", "prompt": "Expliquer la mille neuf cent douze–mille neuf cent quarante-cinq concernant la Réception de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Adolf Hitler", "Anschluss", "Friedrich Führer", "Gustav Ucicky", "Hermann Göring", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Munich Agreement", "Obergruppenführer", "Reichsmark", "Reinhard Heydrich", "Vienna", "Vienna Secession", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1134, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which \"the erotic charge of the likeness of 1907 has been spent\", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4&nbsp;million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la mille neuf cent douze–mille neuf cent quarante-cinq de la Réception est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Adolf Hitler", "Anschluss", "Friedrich Führer", "Gustav Ucicky", "Hermann Göring", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Munich Agreement", "Obergruppenführer", "Reichsmark", "Reinhard Heydrich", "Vienna", "Vienna Secession", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1135, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "After exhibition at the , the portrait was hung at the Bloch-Bauer's Vienna residence. In 1912 Ferdinand commissioned a second painting of his wife, in which \"the erotic charge of the likeness of 1907 has been spent\", according to Whitford. In February 1918, Klimt suffered a stroke and was hospitalised; he caught pneumonia due to the worldwide influenza epidemic and died that month.On 19 January 1923 Adele Bloch-Bauer wrote a will. Ferdinand's brother Gustav, a lawyer by training, helped her frame the document and was named as the executor. The will included a reference to the Klimt works owned by the couple, including the two portraits of her:In February 1925 Adele died of meningitis. Shortly afterwards Gustav filed for probate; he included a document that stated that the clause in the will was precatory, i.e. a request rather than a binding testament. He added that Ferdinand had said he would honour the clause, even though he, not Adele, was the legal owner of the paintings. The works by Klimt which Ferdinand owned, including the two portraits, were moved to Adele's bedroom as a shrine to her. The painting was lent for an exhibition at the Vienna Secession in 1928 to mark the tenth anniversary of Klimt's death; in 1934 it was displayed in London as part of the Austria in London exhibition. In 1936 Ferdinand gave Schloss Kammer am Attersee III to the Österreichische Galerie Belvedere; he later acquired a further Klimt painting, the Portrait of Amalie Zuckerkandl . In 1937 the golden portrait of Adele was lent for display at the Paris Exposition.In December 1937 Gustav's daughter–and Ferdinand's niece–Maria, married the young opera singer Fritz Altman. Ferdinand gave her Adele's jewelled choker, depicted in the painting, as a wedding present. Ferdinand left Vienna for his Czechoslovakian castle in March 1938, following the Anschluss  of Austria by Nazi Germany. That autumn, following the Munich Agreement allowing the Nazi annexations in Czechoslovakia, he realised he was not safe and left for Paris. In September the following year, he moved to neutral Switzerland where he lived in a hotel. In his absence the Nazi regime falsely accused him of evading taxes of 1.4&nbsp;million Reichsmarks. His assets were frozen and, in May 1938, a seizure order was issued that allowed the state to dispose of his property as they felt fit. His sugar factory was confiscated and turned over to the state, and went through a process of Aryanisation as Jewish shareholders and managers were replaced. His Viennese residence became an office of , the German railway company, while his castle in Czechoslovakia was taken after the German occupation as the personal residence of the SS-Obergruppenführer Reinhard Heydrich.As part of the process to deal with the purported tax evasion, the Nazi lawyer Friedrich Führer was appointed as the administrator of the estate. In January 1939 he convened a meeting of museum and gallery directors to inspect the works and to give an indication of which they would like to obtain. After the collection was catalogued, Adolf Hitler used the  decree to obtain part of the collection at a reduced price.group=n}} Several other Nazi leaders, including Hermann Göring, the Commander-in-Chief of the , also obtained works from the collection. Göring also used the  decree to obtain the jewelled choker that had been given to Maria Altmann; it was given as a gift to Emmy, his wife.In December 1941 Führer transferred the paintings Portrait of Adele Bloch-Bauer I and Apfelbaum I to the Galerie Belvedere in return for Schloss Kammer am Attersee III, which he then sold to Gustav Ucicky, an illegitimate son of Klimt. A note accompanying the paintings stated he was acting in accordance with Adele's will. To remove all reference to its Jewish subject matter, the gallery renamed the portrait with the German title  .", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la mille neuf cent douze–mille neuf cent quarante-cinq dans la Réception de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["Adele Bloch-Bauer", "Adele Bloch-Bauer", "Adolf Hitler", "Anschluss", "Friedrich Führer", "Gustav Ucicky", "Hermann Göring", "Portrait of Adele Bloch-Bauer I", "Maria Altmann", "Munich Agreement", "Obergruppenführer", "Reichsmark", "Reinhard Heydrich", "Vienna", "Vienna Secession", "Portrait of Adele Bloch-Bauer I", "Österreichische Galerie Belvedere"]}
{"id": 1136, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act,, 4 December 1998, Federal w Gazette 1998/181.group=n}} which looked again at the question of art stolen by the Nazis.group=n}} The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as \"a double crime\".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna.group=n}} They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing , would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act . The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann.group=n}} In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel.group=n}} Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery., Vienna. On her death she left the painting to the Galerie Belvedere. Altmann claimed the transfer was through an illegal act by Führer; the Zuckerkandl heirs claimed the printing was donated freely by Ferdinand. With no clear evidence to show the transfer from Ferdinand had been coerced or illegal, the panel stated that the Restitution Act did not apply, and the painting should remain with the Galerie Belvedere.group=n}}After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said \"Ciao Adele\", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated \"I would not want any private person to buy these paintings,&nbsp;... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt.\" In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald uder for $135&nbsp;million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and \"uder's passion for and pursuit of this particular work\". uder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that \"A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.\" Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9&nbsp;million, Apfelbaum I for $33&nbsp;million, Buchenwald for $40.3&nbsp;million and Häuser in Unterach am Attersee for $31&nbsp;million. All went to private collections.", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Depuis 1945 et la Réception.Veuillez sortir en anglais.", "section_entities": ["ARTnews", "Adele Bloch-Bauer", "Adele Bloch-Bauer", "Christie's", "E. Randol Schoenberg", "Expressionism", "Foreign Sovereign Immunities Act", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Los Angeles County Museum of Art", "Maria Altmann", "Michael Kimmelman", "Republic of Austria v. Altmann", "Vienna", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1137, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act,, 4 December 1998, Federal w Gazette 1998/181.group=n}} which looked again at the question of art stolen by the Nazis.group=n}} The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as \"a double crime\".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna.group=n}} They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing , would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act . The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann.group=n}} In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel.group=n}} Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery., Vienna. On her death she left the painting to the Galerie Belvedere. Altmann claimed the transfer was through an illegal act by Führer; the Zuckerkandl heirs claimed the printing was donated freely by Ferdinand. With no clear evidence to show the transfer from Ferdinand had been coerced or illegal, the panel stated that the Restitution Act did not apply, and the painting should remain with the Galerie Belvedere.group=n}}After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said \"Ciao Adele\", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated \"I would not want any private person to buy these paintings,&nbsp;... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt.\" In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald uder for $135&nbsp;million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and \"uder's passion for and pursuit of this particular work\". uder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that \"A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.\" Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9&nbsp;million, Apfelbaum I for $33&nbsp;million, Buchenwald for $40.3&nbsp;million and Häuser in Unterach am Attersee for $31&nbsp;million. All went to private collections.", "entry": "subsection", "prompt": "Expliquer la Depuis 1945 concernant la Réception de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["ARTnews", "Adele Bloch-Bauer", "Adele Bloch-Bauer", "Christie's", "E. Randol Schoenberg", "Expressionism", "Foreign Sovereign Immunities Act", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Los Angeles County Museum of Art", "Maria Altmann", "Michael Kimmelman", "Republic of Austria v. Altmann", "Vienna", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1138, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act,, 4 December 1998, Federal w Gazette 1998/181.group=n}} which looked again at the question of art stolen by the Nazis.group=n}} The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as \"a double crime\".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna.group=n}} They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing , would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act . The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann.group=n}} In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel.group=n}} Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery., Vienna. On her death she left the painting to the Galerie Belvedere. Altmann claimed the transfer was through an illegal act by Führer; the Zuckerkandl heirs claimed the printing was donated freely by Ferdinand. With no clear evidence to show the transfer from Ferdinand had been coerced or illegal, the panel stated that the Restitution Act did not apply, and the painting should remain with the Galerie Belvedere.group=n}}After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said \"Ciao Adele\", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated \"I would not want any private person to buy these paintings,&nbsp;... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt.\" In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald uder for $135&nbsp;million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and \"uder's passion for and pursuit of this particular work\". uder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that \"A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.\" Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9&nbsp;million, Apfelbaum I for $33&nbsp;million, Buchenwald for $40.3&nbsp;million and Häuser in Unterach am Attersee for $31&nbsp;million. All went to private collections.", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Depuis 1945 de la Réception est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["ARTnews", "Adele Bloch-Bauer", "Adele Bloch-Bauer", "Christie's", "E. Randol Schoenberg", "Expressionism", "Foreign Sovereign Immunities Act", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Los Angeles County Museum of Art", "Maria Altmann", "Michael Kimmelman", "Republic of Austria v. Altmann", "Vienna", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1139, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "In August 1945 Ferdinand wrote a final will that revoked all previous ones. It made no reference to the pictures, which he thought had been lost forever, but it stated that his entire estate was left to his nephew and two nieces—one of whom was Maria Altmann. Ferdinand died in Switzerland in November that year.In 1946 the Austrian state issued an Annulment Act that declared all transactions motivated by Nazi discrimination were void; any Jews who wanted to remove artwork from Austria were forced to give some of their works to Austrian museums in order to obtain an export permit for others. The Bloch-Bauer family hired Dr Gustav Rinesh, a Viennese lawyer, to reclaim stolen artwork on their behalf. Using the records produced by Führer, he traced most of the works to the Galerie Belvedere, and Häuser in Unterach, to Führer's own private collection. Several works were returned to the Bloch-Bauer estate, but no Klimt paintings; to obtain the necessary export permits, the family were forced to let the Austrian state retain Häuser in Unterach am Attersee, Adele Bloch-Bauer I, Adele Bloch-Bauer II, and Apfelbaum I. They were also forced to relinquish any claims on Buchenwald and Schloss Kammer am Attersee III. The Galerie Belvedere based its claim of retention of the Klimt works on Adele's will.In 1998 the Austrian government introduced the Art Restitution Act,, 4 December 1998, Federal w Gazette 1998/181.group=n}} which looked again at the question of art stolen by the Nazis.group=n}} The government formed a restitution committee to report on which works should be returned; government archives were opened up to research into the provenance of works held by the government. Hubertus Czernin, the Austrian investigative journalist, undertook extensive research in the newly opened archives and published a story about the theft of art by the Nazis; with the subsequent refusal of the Austrian state to return the art or to acknowledge a theft had taken place, Czernin described the situation as \"a double crime\".Altmann, then living in the US, hired E. Randol Schoenberg to act on her behalf. Schoenberg was the son of a woman she had been friends with since they lived in Vienna.group=n}} They filed a claim with the restitution committee for the return of six paintings: Adele Bloch-Bauer I, Adele Bloch-Bauer II, Apfelbaum I, Buchenwald, Häuser in Unterach am Attersee and Amalie Zuckerkandl. The committee turned down the request, again citing Adele's will as the reason they were retaining the works. The committee's decision recommended that 16 Klimt drawings and 19 pieces of porcelain that had been held by Ferdinand and Adele and which were still at the Galerie Belvedere should be returned, as they fell outside the request of the will.In March 2000 Altmann filed a civil claim against the Austrian government for the return of the paintings. She was informed that the cost of filing , would have meant a fee of €1.75 million. To avoid the prohibitively high costs, Altmann and Schoenberg sued the Galerie Belvedere, and the museums owner, the Austrian government, in the US courts. The Austrian government filed for dismissal, with arguments based on the Foreign Sovereign Immunities Act . The Act granted immunity to sovereign nations except under certain conditions. Schoenberg showed that three of the conditions pertinent to the case were that Altmann's property had been taken in violation of international law; the property was in the possession of the state in question, or one of its agencies; and that the property had been used on a commercial basis in the US. Over four years of litigation followed as to whether the case could be brought against a sovereign state before it was brought before the Supreme Court in Republic of Austria v. Altmann.group=n}} In June 2004 the Supreme Court determined that the paintings had been stolen and that Austria was not immune from a claim from Altmann; the court made no comment on the current ownership of the paintings.To avoid returning to the courts in what could have been lengthy litigation process, arbitration in Austria was agreed upon by both parties, although the Austrians had turned down such a move in 1999. Three arbitrators formed the panel, Andreas Nödl, Walter Rechberger and Peter Rummel.group=n}} Schoenberg gave evidence before them in September 2005 and, in January 2006, they delivered their judgement. They stated that five of the six paintings in question should be returned to the Bloch-Bauer estate, as outlined in Ferdinand's will; only the Portrait of Amalie Zuckerkandl was to be retained by the gallery., Vienna. On her death she left the painting to the Galerie Belvedere. Altmann claimed the transfer was through an illegal act by Führer; the Zuckerkandl heirs claimed the printing was donated freely by Ferdinand. With no clear evidence to show the transfer from Ferdinand had been coerced or illegal, the panel stated that the Restitution Act did not apply, and the painting should remain with the Galerie Belvedere.group=n}}After the panel's decision was announced, the Galerie Belvedere ran a series of advertisements that appeared in bus stops and on underground railway platforms. The posters said \"Ciao Adele\", advertising the last opportunity before the painting left the country and long queues formed around the block. Although there were calls from some Austrians for the state to purchase the five paintings, the government stated that the price would be too high to justify the expense. The paintings were exported from Austria in March 2006 and exhibited together at the Los Angeles County Museum of Art from April to June that year.When Altmann was asked what she wanted to do with the paintings, she stated \"I would not want any private person to buy these paintings,&nbsp;... It is very meaningful to me that they are seen by anybody who wants to see them, because that would have been the wish of my aunt.\" In June 2006 the Portrait of Adele Bloch-Bauer I was sold to Ronald uder for $135&nbsp;million for his public art museum, at the time a record price for a painting. Eileen Kinsella, the editor of ARTnews, considered the high price was due to several factors, particularly the painting's provenance, the increasing demand for Austrian Expressionism, rising prices in the art world and \"uder's passion for and pursuit of this particular work\". uder placed the work in the Neue Galerie, the New York–based gallery he co-founded. The painting has been on display at the location since.Michael Kimmelman, the chief art critic for the New York Times, was critical of the sale, and wrote that \"A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.\" Altmann said of the sale that it was not practical for her, or her relatives who were also part of the estate, to retain any of the paintings. In November 2006 the remaining four Klimt paintings were sold at Christie's auction house. Adele Bloch-Bauer II sold for $87.9&nbsp;million, Apfelbaum I for $33&nbsp;million, Buchenwald for $40.3&nbsp;million and Häuser in Unterach am Attersee for $31&nbsp;million. All went to private collections.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Depuis 1945 dans la Réception de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": ["ARTnews", "Adele Bloch-Bauer", "Adele Bloch-Bauer", "Christie's", "E. Randol Schoenberg", "Expressionism", "Foreign Sovereign Immunities Act", "Hubertus Czernin", "Portrait of Adele Bloch-Bauer I", "Los Angeles County Museum of Art", "Maria Altmann", "Michael Kimmelman", "Republic of Austria v. Altmann", "Vienna", "Portrait of Adele Bloch-Bauer I"]}
{"id": 1140, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsubsection", "prompt": "En vous concentrant sur la Réception de Portrait d'Adele Bloch-Bauer I, expliquez la Journaux et journaux. concernant la Héritage.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1141, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsubsection", "prompt": "Expliquer la Journaux et journaux. concernant la Héritage de la Réception dans cette œuvre, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1142, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsubsection", "prompt": "Concernant Portrait d'Adele Bloch-Bauer I, comment la Héritage de la Réception intègre-t-elle la Journaux et journaux.?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1143, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsubsection", "prompt": "En examinant la Réception de Portrait d'Adele Bloch-Bauer I, comment discutez-vous la Journaux et journaux. de la Héritage?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1144, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsubsection", "prompt": "En vous concentrant sur la Réception de Portrait d'Adele Bloch-Bauer I, expliquez la Internet et médias télévisés concernant la Héritage.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1145, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsubsection", "prompt": "Expliquer la Internet et médias télévisés concernant la Héritage de la Réception dans cette œuvre, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1146, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsubsection", "prompt": "Concernant Portrait d'Adele Bloch-Bauer I, comment la Héritage de la Réception intègre-t-elle la Internet et médias télévisés?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1147, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsubsection", "prompt": "En examinant la Réception de Portrait d'Adele Bloch-Bauer I, comment discutez-vous la Internet et médias télévisés de la Héritage?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1148, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Journaux et journaux. et la Depuis 1945.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1149, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsection", "prompt": "Expliquer la Journaux et journaux. concernant la Depuis 1945 de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1150, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Journaux et journaux. de la Depuis 1945 est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1151, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "doi=10.1017/S0020782900009621s2cid=232252256}}", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Journaux et journaux. dans la Depuis 1945 de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1152, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsection", "prompt": "Dans le contexte de Portrait d'Adele Bloch-Bauer I, expliquez la Internet et médias télévisés et la Depuis 1945.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1153, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsection", "prompt": "Expliquer la Internet et médias télévisés concernant la Depuis 1945 de cette œuvre d'art, Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1154, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsection", "prompt": "Dans Portrait d'Adele Bloch-Bauer I, comment la Internet et médias télévisés de la Depuis 1945 est-elle expliquée?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1155, "title": "Portrait d'Adele Bloch-Bauer I", "en_title": "Portrait of Adele Bloch-Bauer I", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Gustav_Klimt_046.jpg/350px-Gustav_Klimt_046.jpg", "reference": "}}  }}  }}   }} }} archive-url=https://web.archive.org/web/20171018093302/http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauerarchive-date=18 October 2017url-status=dead}} }} archive-url=https://web.archive.org/web/20170314153125/http://www.austria.org/events1/2015/6/25/new-york-staged-reading-the-accidental-caregiverarchive-date=14 March 2017url-status=dead}} }} }} }}   }} }}", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Internet et médias télévisés dans la Depuis 1945 de Portrait d'Adele Bloch-Bauer I.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1156, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a \"new infrared reflectogram lends no support to the theory\".", "entry": "section", "prompt": "Concentrez-vous sur Les Trois Philosophes et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Giorgione", "High Renaissance", "Kunsthistorisches Museum", "Sebastiano del Piombo", "Taddeo Contarini", "Vienna"]}
{"id": 1157, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a \"new infrared reflectogram lends no support to the theory\".", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Les Trois Philosophes.Veuillez sortir en anglais.", "section_entities": ["Giorgione", "High Renaissance", "Kunsthistorisches Museum", "Sebastiano del Piombo", "Taddeo Contarini", "Vienna"]}
{"id": 1158, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a \"new infrared reflectogram lends no support to the theory\".", "entry": "section", "prompt": "Comment Les Trois Philosophes explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Giorgione", "High Renaissance", "Kunsthistorisches Museum", "Sebastiano del Piombo", "Taddeo Contarini", "Vienna"]}
{"id": 1159, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "The Three Philosophers is an oil painting on canvas attributed to the Italian High Renaissance artist Giorgione.  It shows three philosophers – one young, one middle-aged, and one old.The work may have been commissioned by the Venetian noble Taddeo Contarini, a Venetian merchant with an interest in the occult and alchemy. The Three Philosophers was finished one year before the painter died. One of Giorgione’s last paintings, it is now displayed at the Kunsthistorisches Museum in Vienna. The painting was thought to have been finished by Sebastiano del Piombo, but a \"new infrared reflectogram lends no support to the theory\".", "entry": "section", "prompt": "Dans Les Trois Philosophes, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Giorgione", "High Renaissance", "Kunsthistorisches Museum", "Sebastiano del Piombo", "Taddeo Contarini", "Vienna"]}
{"id": 1160, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel , who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.", "entry": "section", "prompt": "Concentrez-vous sur Les Trois Philosophes et expliquez la Description.Veuillez sortir en anglais.", "section_entities": ["Magi", "Marcantonio Michiel"]}
{"id": 1161, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel , who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.", "entry": "section", "prompt": "Expliquer la Description de cette œuvre d'art, Les Trois Philosophes.Veuillez sortir en anglais.", "section_entities": ["Magi", "Marcantonio Michiel"]}
{"id": 1162, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel , who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.", "entry": "section", "prompt": "Comment Les Trois Philosophes explique-t-il sa Description?Veuillez sortir en anglais.", "section_entities": ["Magi", "Marcantonio Michiel"]}
{"id": 1163, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "The Three Philosophers was finished around 1509, and the current name of the work derives from a writing of Marcantonio Michiel , who saw it just some years after in a Venetian villa. The three figures portrayed are allegorical: an old bearded man, possibly a Greek philosopher;  a Persian or Arab philosopher; and a sitting young man, enclosed within a natural landscape. In the background is a village with some mountains, the latter marked by a blue area whose meaning is unknown. The young man is observing a cave on the left of the scene, and apparently measuring it with some instruments. Since the end of the 19th century scholars and critics rejected on various grounds the earlier view that it is a representation of the three Magi gathered before Jesus' grotto.", "entry": "section", "prompt": "Dans Les Trois Philosophes, comment est discutée la Description?Veuillez sortir en anglais.", "section_entities": ["Magi", "Marcantonio Michiel"]}
{"id": 1164, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave.  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity , three epochs of European civilization , the three Abrahamic religions or some combination of such general conceptions. Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word \"eclipsis\" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is \"partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'\"", "entry": "section", "prompt": "Concentrez-vous sur Les Trois Philosophes et expliquez la Interprétations.Veuillez sortir en anglais.", "section_entities": ["Abrahamic religions", "Aristarchus of Samos", "Aristotle", "Augusto Gentili", "Averroes", "Avicenna", "Giorgione", "Hiram Abiff", "Hiram I", "Islamic Golden Age", "Italian Renaissance", "James Panero", "Solomon", "Pherecydes of Syros", "Plato", "Polydore Vergil", "Pythagoras", "Pythagorean theorem"]}
{"id": 1165, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave.  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity , three epochs of European civilization , the three Abrahamic religions or some combination of such general conceptions. Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word \"eclipsis\" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is \"partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'\"", "entry": "section", "prompt": "Expliquer la Interprétations de cette œuvre d'art, Les Trois Philosophes.Veuillez sortir en anglais.", "section_entities": ["Abrahamic religions", "Aristarchus of Samos", "Aristotle", "Augusto Gentili", "Averroes", "Avicenna", "Giorgione", "Hiram Abiff", "Hiram I", "Islamic Golden Age", "Italian Renaissance", "James Panero", "Solomon", "Pherecydes of Syros", "Plato", "Polydore Vergil", "Pythagoras", "Pythagorean theorem"]}
{"id": 1166, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave.  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity , three epochs of European civilization , the three Abrahamic religions or some combination of such general conceptions. Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word \"eclipsis\" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is \"partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'\"", "entry": "section", "prompt": "Comment Les Trois Philosophes explique-t-il sa Interprétations?Veuillez sortir en anglais.", "section_entities": ["Abrahamic religions", "Aristarchus of Samos", "Aristotle", "Augusto Gentili", "Averroes", "Avicenna", "Giorgione", "Hiram Abiff", "Hiram I", "Islamic Golden Age", "Italian Renaissance", "James Panero", "Solomon", "Pherecydes of Syros", "Plato", "Polydore Vergil", "Pythagoras", "Pythagorean theorem"]}
{"id": 1167, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "Various interpretations about Giorgione's picture have been proposed. The Three Philosophers — the old man, the Arab figure, and the young man — could depict the transmission of knowledge, the Transmission of the Classics from the ancient Greeks philosophy through the Arab translations, that became actual again around the Italian Renaissance. The old man is representing a Greek philosopher, such as Plato or Aristotle, whose writings have been copied and transmitted through the Arab philosophers to the Italian Renaissance. The Arab philosopher is possibly representing the polyhistor Avicenna or Averroes, both Arab philosophers and Arab scientists from the Islamic Golden Age.The young man could be seen as the new Renaissance science with roots in the past, looking into the empty darkness of the cave, symbolizing the yet undiscovered secrets. The cave might also symbolize the philosophic concept of Plato's Cave.  The possibility that the three men are King Solomon, Hiram I, King of Tyre, and Hiram Abiff has been advanced by Neil K. MacLennan and Ross S. Kilpatrick.It has been suggested that the figure of the young man can be inscribed neatly in a right-angled triangle for which the Pythagorean theorem applies. Karin Zeleny, relying on a reading of Polydore Vergil has proposed that the philosophers are the teachers of Pythagoras – Pherecydes of Syros and Thales. Thales has been painted as a Jew, while Pherecydes was mistakenly believed to be a Syrian. This interpretation was modified by Frank Keim who claimed that the older philosopher is in fact Aristarchus of SamosOther scholars have asserted that the figures are typical representations for three stages of humanity , three epochs of European civilization , the three Abrahamic religions or some combination of such general conceptions. Augusto Gentili proposed that the picture illustrates the waiting for the Antichrist, based on conjunctionist astrology. On the sheet held by the oldest philosopher the word \"eclipsis\" and an astronomical diagram can be seen. The great conjunction of 1503 and the eclipse the same year were believed to be signs announcing its coming.James Panero writes that, in interpreting The Three Philosophers, he is \"partial to the poetic approach proposed by art historian Tom Nichols in his book Giorgione’s Ambiguity, in which he suggests that our interpretation is meant to remain free-floating and open-ended. Deliberate ambiguities, he writes, are Giorgione’s 'visual traps set to capture the viewer's curiosity and speculation.'\"", "entry": "section", "prompt": "Dans Les Trois Philosophes, comment est discutée la Interprétations?Veuillez sortir en anglais.", "section_entities": ["Abrahamic religions", "Aristarchus of Samos", "Aristotle", "Augusto Gentili", "Averroes", "Avicenna", "Giorgione", "Hiram Abiff", "Hiram I", "Islamic Golden Age", "Italian Renaissance", "James Panero", "Solomon", "Pherecydes of Syros", "Plato", "Polydore Vergil", "Pythagoras", "Pythagorean theorem"]}
{"id": 1168, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9&nbsp;cm.", "entry": "section", "prompt": "Concentrez-vous sur Les Trois Philosophes et expliquez la Théâtre Pictural.Veuillez sortir en anglais.", "section_entities": ["David Teniers the Younger", "Kunsthistorisches Museum", "Theatrum Pictorium", "Vienna"]}
{"id": 1169, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9&nbsp;cm.", "entry": "section", "prompt": "Expliquer la Théâtre Pictural de cette œuvre d'art, Les Trois Philosophes.Veuillez sortir en anglais.", "section_entities": ["David Teniers the Younger", "Kunsthistorisches Museum", "Theatrum Pictorium", "Vienna"]}
{"id": 1170, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9&nbsp;cm.", "entry": "section", "prompt": "Comment Les Trois Philosophes explique-t-il sa Théâtre Pictural?Veuillez sortir en anglais.", "section_entities": ["David Teniers the Younger", "Kunsthistorisches Museum", "Theatrum Pictorium", "Vienna"]}
{"id": 1171, "title": "Les Trois Philosophes", "en_title": "The Three Philosophers", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a8/Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg/270px-Giorgione_-_Three_Philosophers_-_Google_Art_Project.jpg", "reference": "This painting was documented in David Teniers the Younger's catalog Theatrum Pictorium of the art collection of Archduke Leopold Wilhelm in 1659 and again in 1673, but the portrait had already gained attention from Teniers' portrayals of the Archduke's art collection: Tenier's copies that he made of the exhibits have long been recognised as a valuable historical resource.This painting is displayed at the Kunsthistorisches Museum in Vienna. While working on his picture, David Teniers the Younger made tiny separate copies of each and every picture as a study for the final big painting, depicting the duke's collection. It is a small copy that measures 21.5 x 30.9&nbsp;cm.", "entry": "section", "prompt": "Dans Les Trois Philosophes, comment est discutée la Théâtre Pictural?Veuillez sortir en anglais.", "section_entities": ["David Teniers the Younger", "Kunsthistorisches Museum", "Theatrum Pictorium", "Vienna"]}
{"id": 1172, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "image_size = 270 mapframe-frame-width = 270 mapframe = yes mapframe-caption = Click on the map for a fullscreen view mapframe-zoom = 14 mapframe-marker = monument mapframe-wikidata = yes}}The Augustus of Prima Porta  is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD&nbsp;14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands  tall and weighs .The Augustus of Prima Porta is now displayed in the   of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.", "entry": "section", "prompt": "Concentrez-vous sur Auguste de Prima Porta et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Parthia", "Prima Porta", "Roman emperor", "Vatican Museums", "Villa of Livia", "Wilhelm Henzen"]}
{"id": 1173, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "image_size = 270 mapframe-frame-width = 270 mapframe = yes mapframe-caption = Click on the map for a fullscreen view mapframe-zoom = 14 mapframe-marker = monument mapframe-wikidata = yes}}The Augustus of Prima Porta  is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD&nbsp;14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands  tall and weighs .The Augustus of Prima Porta is now displayed in the   of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Parthia", "Prima Porta", "Roman emperor", "Vatican Museums", "Villa of Livia", "Wilhelm Henzen"]}
{"id": 1174, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "image_size = 270 mapframe-frame-width = 270 mapframe = yes mapframe-caption = Click on the map for a fullscreen view mapframe-zoom = 14 mapframe-marker = monument mapframe-wikidata = yes}}The Augustus of Prima Porta  is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD&nbsp;14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands  tall and weighs .The Augustus of Prima Porta is now displayed in the   of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.", "entry": "section", "prompt": "Comment Auguste de Prima Porta explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Parthia", "Prima Porta", "Roman emperor", "Vatican Museums", "Villa of Livia", "Wilhelm Henzen"]}
{"id": 1175, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "image_size = 270 mapframe-frame-width = 270 mapframe = yes mapframe-caption = Click on the map for a fullscreen view mapframe-zoom = 14 mapframe-marker = monument mapframe-wikidata = yes}}The Augustus of Prima Porta  is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD&nbsp;14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands  tall and weighs .The Augustus of Prima Porta is now displayed in the   of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.", "entry": "section", "prompt": "Dans Auguste de Prima Porta, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Parthia", "Prima Porta", "Roman emperor", "Vatican Museums", "Villa of Livia", "Wilhelm Henzen"]}
{"id": 1176, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The imagery on the  cuirass  refers to the Parthian restitution of the Roman eagles, or insignia, in 20&nbsp;BC, one of Augustus' most significant diplomatic accomplishments. The date of the  bronze original is therefore later than 20&nbsp;BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD&nbsp;29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.", "entry": "section", "prompt": "Concentrez-vous sur Auguste de Prima Porta et expliquez la Original.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Parthia", "Tiberius"]}
{"id": 1177, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The imagery on the  cuirass  refers to the Parthian restitution of the Roman eagles, or insignia, in 20&nbsp;BC, one of Augustus' most significant diplomatic accomplishments. The date of the  bronze original is therefore later than 20&nbsp;BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD&nbsp;29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.", "entry": "section", "prompt": "Expliquer la Original de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Parthia", "Tiberius"]}
{"id": 1178, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The imagery on the  cuirass  refers to the Parthian restitution of the Roman eagles, or insignia, in 20&nbsp;BC, one of Augustus' most significant diplomatic accomplishments. The date of the  bronze original is therefore later than 20&nbsp;BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD&nbsp;29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.", "entry": "section", "prompt": "Comment Auguste de Prima Porta explique-t-il sa Original?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Parthia", "Tiberius"]}
{"id": 1179, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The imagery on the  cuirass  refers to the Parthian restitution of the Roman eagles, or insignia, in 20&nbsp;BC, one of Augustus' most significant diplomatic accomplishments. The date of the  bronze original is therefore later than 20&nbsp;BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD&nbsp;29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.", "entry": "section", "prompt": "Dans Auguste de Prima Porta, comment est discutée la Original?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Parthia", "Tiberius"]}
{"id": 1180, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "Augustus is shown in his role of \"Imperator\", the commander of the army, as thoracatus —or commander-in-chief of the Roman army —meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia ; at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoross contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted , the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or \"cloth of the commander\".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus  by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.", "entry": "section", "prompt": "Concentrez-vous sur Auguste de Prima Porta et expliquez la Style.Veuillez sortir en anglais.", "section_entities": ["Achilles", "Alexander the Great", "Augustus", "Cupid", "Doryphoros", "Gaul", "Germania", "Hispania", "Julius Caesar", "Parthia", "Polykleitos", "Prima Porta", "Roman emperor", "Roman portraiture"]}
{"id": 1181, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "Augustus is shown in his role of \"Imperator\", the commander of the army, as thoracatus —or commander-in-chief of the Roman army —meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia ; at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoross contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted , the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or \"cloth of the commander\".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus  by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.", "entry": "section", "prompt": "Expliquer la Style de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Achilles", "Alexander the Great", "Augustus", "Cupid", "Doryphoros", "Gaul", "Germania", "Hispania", "Julius Caesar", "Parthia", "Polykleitos", "Prima Porta", "Roman emperor", "Roman portraiture"]}
{"id": 1182, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "Augustus is shown in his role of \"Imperator\", the commander of the army, as thoracatus —or commander-in-chief of the Roman army —meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia ; at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoross contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted , the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or \"cloth of the commander\".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus  by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.", "entry": "section", "prompt": "Comment Auguste de Prima Porta explique-t-il sa Style?Veuillez sortir en anglais.", "section_entities": ["Achilles", "Alexander the Great", "Augustus", "Cupid", "Doryphoros", "Gaul", "Germania", "Hispania", "Julius Caesar", "Parthia", "Polykleitos", "Prima Porta", "Roman emperor", "Roman portraiture"]}
{"id": 1183, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "Augustus is shown in his role of \"Imperator\", the commander of the army, as thoracatus —or commander-in-chief of the Roman army —meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia ; at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoross contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted , the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or \"cloth of the commander\".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus  by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.", "entry": "section", "prompt": "Dans Auguste de Prima Porta, comment est discutée la Style?Veuillez sortir en anglais.", "section_entities": ["Achilles", "Alexander the Great", "Augustus", "Cupid", "Doryphoros", "Gaul", "Germania", "Hispania", "Julius Caesar", "Parthia", "Polykleitos", "Prima Porta", "Roman emperor", "Roman portraiture"]}
{"id": 1184, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "It is almost certain that the Augustus was originally painted, but so few traces remain today  that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, \"I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood.\" The quote continues to state that a statue of the time is unfinished without its \"chora\"—skin—or layer, applied to the statue to render it complete.", "entry": "section", "prompt": "Concentrez-vous sur Auguste de Prima Porta et expliquez la Polychromie.Veuillez sortir en anglais.", "section_entities": ["Apelles", "Augustus", "Prima Porta", "Roman sculpture", "Scotland", "University of St Andrews", "Vatican Museums"]}
{"id": 1185, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "It is almost certain that the Augustus was originally painted, but so few traces remain today  that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, \"I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood.\" The quote continues to state that a statue of the time is unfinished without its \"chora\"—skin—or layer, applied to the statue to render it complete.", "entry": "section", "prompt": "Expliquer la Polychromie de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Apelles", "Augustus", "Prima Porta", "Roman sculpture", "Scotland", "University of St Andrews", "Vatican Museums"]}
{"id": 1186, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "It is almost certain that the Augustus was originally painted, but so few traces remain today  that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, \"I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood.\" The quote continues to state that a statue of the time is unfinished without its \"chora\"—skin—or layer, applied to the statue to render it complete.", "entry": "section", "prompt": "Comment Auguste de Prima Porta explique-t-il sa Polychromie?Veuillez sortir en anglais.", "section_entities": ["Apelles", "Augustus", "Prima Porta", "Roman sculpture", "Scotland", "University of St Andrews", "Vatican Museums"]}
{"id": 1187, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "It is almost certain that the Augustus was originally painted, but so few traces remain today  that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, \"I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood.\" The quote continues to state that a statue of the time is unfinished without its \"chora\"—skin—or layer, applied to the statue to render it complete.", "entry": "section", "prompt": "Dans Auguste de Prima Porta, comment est discutée la Polychromie?Veuillez sortir en anglais.", "section_entities": ["Apelles", "Augustus", "Prima Porta", "Roman sculpture", "Scotland", "University of St Andrews", "Vatican Museums"]}
{"id": 1188, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27&nbsp;BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD&nbsp;14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. At its best, in Roland R. R. Smith's view, this \"type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness\".", "entry": "section", "prompt": "Concentrez-vous sur Auguste de Prima Porta et expliquez la taper.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Prima Porta", "Roman emperor"]}
{"id": 1189, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27&nbsp;BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD&nbsp;14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. At its best, in Roland R. R. Smith's view, this \"type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness\".", "entry": "section", "prompt": "Expliquer la taper de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Prima Porta", "Roman emperor"]}
{"id": 1190, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27&nbsp;BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD&nbsp;14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. At its best, in Roland R. R. Smith's view, this \"type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness\".", "entry": "section", "prompt": "Comment Auguste de Prima Porta explique-t-il sa taper?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Prima Porta", "Roman emperor"]}
{"id": 1191, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The Prima Porta-type of statues of Augustus, of which Augustus of Prima Porta is the most famous example, became the prevailing representational style for him. This type was introduced around 27&nbsp;BC to visually express the title Augustus and was copied full-length and in busts in various versions throughout the empire up until his death in AD&nbsp;14.  The copies never showed Augustus looking older, however, but represented him as forever young, in line with the aims of his propaganda, i.e. to display the authority of the Roman emperors through conventional styles and stories of the culture. At its best, in Roland R. R. Smith's view, this \"type achieves a sort [of] visual paradox that might be described as mature, ageless, and authoritative youthfulness\".", "entry": "section", "prompt": "Dans Auguste de Prima Porta, comment est discutée la taper?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Prima Porta", "Roman emperor"]}
{"id": 1192, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the . a placement near a staircase, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus \"receiving\" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.", "entry": "section", "prompt": "Concentrez-vous sur Auguste de Prima Porta et expliquez la Découverte.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Prima Porta", "Villa of Livia", "Wilhelm Henzen"]}
{"id": 1193, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the . a placement near a staircase, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus \"receiving\" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.", "entry": "section", "prompt": "Expliquer la Découverte de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Prima Porta", "Villa of Livia", "Wilhelm Henzen"]}
{"id": 1194, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the . a placement near a staircase, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus \"receiving\" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.", "entry": "section", "prompt": "Comment Auguste de Prima Porta explique-t-il sa Découverte?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Prima Porta", "Villa of Livia", "Wilhelm Henzen"]}
{"id": 1195, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The statue of Augustus of Prima Porta was discovered within the Villa of Livia in 1863, however little is known about the discovery itself and its immediate aftermath, as the incomplete archaeological journals leave ambiguous evidence for modern historians. The statue was first publicized by the German archeologist Wilhelm Henzen in 1863 the . a placement near a staircase, or in a laurel grove on the south-east corner of Prima Porta hill.  Scholars have stated that the last one is relatively unconvincing compared with the first three. The theory that Augustus's statue was found in the underground complex of the villa is based on a hypothesis that Augustus holds a laurel branch instead of a spear in his left hand. Scholars have noted that if this hypothesis is correct, then Villa of Livia must have been decorated with laurel groves and that the reason of the decoration is the omen of the gallina alba.Recent excavations have discovered the remnants of pots used to plant laurel on the edge of the Prima Porta hill in front of the underground complex, which Reeder believes suggests the possibility of the existence of laurel groves in the villa and makes it likely that the statue was located in the underground complex. She rationalized this by stating that per Suetonius, Augustus had a fear of lightning and often hid in 'an underground vaulted room', which she theorizes was likely the underground complex, particularly as during the time of Augustus laurels were thought to provide protection from lightning. As visitors would enter the atrium from the fauces at the northeastern corner, the statue would be the first thing that they would see and that they would view it from the left, which fits Kähler's idea that it should be seen from this position.  When the visitor walked across the atrium their eyes would meet with Augustus's right hand, thus \"receiving\" the address that Augustus made.The story of gallina alba narrates that after Livia married Octavian an eagle dropped a hen with a laurel branch onto Livia's lap, which the religious authorities of Rome took as a sign of blessing and divinity. The plant was ordered to be planted with great religious care at what is now known as the villa surbana, where it grew into a grove. According to Jane Clark Reeder, when Julio-Claudians experienced military success they would take a laurel branch from the villa.", "entry": "section", "prompt": "Dans Auguste de Prima Porta, comment est discutée la Découverte?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Livia", "Prima Porta", "Villa of Livia", "Wilhelm Henzen"]}
{"id": 1196, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "In German Heinz Kähler: Die Augustusstatue von Primaporta. Köln 1959. Erika Simon: Der Augustus von Prima Porta. Bremen, Dorn 1959.  Hans Jucker: Dokumentationen zur Augustusstatue von Primaporta, in: Hefte des Archäologischen Seminars Bern 3  S. 16–37. Paul Zanker: Augustus und die Macht der Bilder. München, C. H. Beck 1987,  Kaiser Augustus und die verlorene Republik, Ausstellung Berlin 1988. Mainz, Zabern 1988. S. 386 f. Nr. 215. Erika Simon: Altes und Neues zur Statue des Augustus von Primaporta, in: G. Binder , Saeculum Augustum, Bd. 3, Darmstadt, WBG 1991, S. 204–233. Dietrich Boschung: Die Bildnisse des Augustus, Gebr. Mann Verlag, Berlin 1993   Thomas Schäfer: Der Augustus von Primaporta im Wechsel der Medien, in: H. J. Wendel u.a. , Wechsel des Mediums. Zur Interdependenz von Form und Inhalt, Rostock 2001, S. 37–58. Vinzenz Brinkmann und Raimund Wünsche : Bunte Götter. Die Farbigkeit antiker Skulptur. Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom, Staatliche Antikensammlungen und Glyptothek, München 2004 .In Italian Ascanio Modena Altieri: Imago roboris: Augusto di Prima Porta. Rome, L'Intellettuale Dissidente, 2017.", "entry": "section", "prompt": "Concentrez-vous sur Auguste de Prima Porta et expliquez la Lectures supplémentaires.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Prima Porta"]}
{"id": 1197, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "In German Heinz Kähler: Die Augustusstatue von Primaporta. Köln 1959. Erika Simon: Der Augustus von Prima Porta. Bremen, Dorn 1959.  Hans Jucker: Dokumentationen zur Augustusstatue von Primaporta, in: Hefte des Archäologischen Seminars Bern 3  S. 16–37. Paul Zanker: Augustus und die Macht der Bilder. München, C. H. Beck 1987,  Kaiser Augustus und die verlorene Republik, Ausstellung Berlin 1988. Mainz, Zabern 1988. S. 386 f. Nr. 215. Erika Simon: Altes und Neues zur Statue des Augustus von Primaporta, in: G. Binder , Saeculum Augustum, Bd. 3, Darmstadt, WBG 1991, S. 204–233. Dietrich Boschung: Die Bildnisse des Augustus, Gebr. Mann Verlag, Berlin 1993   Thomas Schäfer: Der Augustus von Primaporta im Wechsel der Medien, in: H. J. Wendel u.a. , Wechsel des Mediums. Zur Interdependenz von Form und Inhalt, Rostock 2001, S. 37–58. Vinzenz Brinkmann und Raimund Wünsche : Bunte Götter. Die Farbigkeit antiker Skulptur. Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom, Staatliche Antikensammlungen und Glyptothek, München 2004 .In Italian Ascanio Modena Altieri: Imago roboris: Augusto di Prima Porta. Rome, L'Intellettuale Dissidente, 2017.", "entry": "section", "prompt": "Expliquer la Lectures supplémentaires de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Prima Porta"]}
{"id": 1198, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "In German Heinz Kähler: Die Augustusstatue von Primaporta. Köln 1959. Erika Simon: Der Augustus von Prima Porta. Bremen, Dorn 1959.  Hans Jucker: Dokumentationen zur Augustusstatue von Primaporta, in: Hefte des Archäologischen Seminars Bern 3  S. 16–37. Paul Zanker: Augustus und die Macht der Bilder. München, C. H. Beck 1987,  Kaiser Augustus und die verlorene Republik, Ausstellung Berlin 1988. Mainz, Zabern 1988. S. 386 f. Nr. 215. Erika Simon: Altes und Neues zur Statue des Augustus von Primaporta, in: G. Binder , Saeculum Augustum, Bd. 3, Darmstadt, WBG 1991, S. 204–233. Dietrich Boschung: Die Bildnisse des Augustus, Gebr. Mann Verlag, Berlin 1993   Thomas Schäfer: Der Augustus von Primaporta im Wechsel der Medien, in: H. J. Wendel u.a. , Wechsel des Mediums. Zur Interdependenz von Form und Inhalt, Rostock 2001, S. 37–58. Vinzenz Brinkmann und Raimund Wünsche : Bunte Götter. Die Farbigkeit antiker Skulptur. Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom, Staatliche Antikensammlungen und Glyptothek, München 2004 .In Italian Ascanio Modena Altieri: Imago roboris: Augusto di Prima Porta. Rome, L'Intellettuale Dissidente, 2017.", "entry": "section", "prompt": "Comment Auguste de Prima Porta explique-t-il sa Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Prima Porta"]}
{"id": 1199, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "In German Heinz Kähler: Die Augustusstatue von Primaporta. Köln 1959. Erika Simon: Der Augustus von Prima Porta. Bremen, Dorn 1959.  Hans Jucker: Dokumentationen zur Augustusstatue von Primaporta, in: Hefte des Archäologischen Seminars Bern 3  S. 16–37. Paul Zanker: Augustus und die Macht der Bilder. München, C. H. Beck 1987,  Kaiser Augustus und die verlorene Republik, Ausstellung Berlin 1988. Mainz, Zabern 1988. S. 386 f. Nr. 215. Erika Simon: Altes und Neues zur Statue des Augustus von Primaporta, in: G. Binder , Saeculum Augustum, Bd. 3, Darmstadt, WBG 1991, S. 204–233. Dietrich Boschung: Die Bildnisse des Augustus, Gebr. Mann Verlag, Berlin 1993   Thomas Schäfer: Der Augustus von Primaporta im Wechsel der Medien, in: H. J. Wendel u.a. , Wechsel des Mediums. Zur Interdependenz von Form und Inhalt, Rostock 2001, S. 37–58. Vinzenz Brinkmann und Raimund Wünsche : Bunte Götter. Die Farbigkeit antiker Skulptur. Eine Ausstellung der Staatlichen Antikensammlungen und Glyptothek München in Zusammenarbeit mit der Ny Carlsberg Glyptotek Kopenhagen und den Vatikanischen Museen, Rom, Staatliche Antikensammlungen und Glyptothek, München 2004 .In Italian Ascanio Modena Altieri: Imago roboris: Augusto di Prima Porta. Rome, L'Intellettuale Dissidente, 2017.", "entry": "section", "prompt": "Dans Auguste de Prima Porta, comment est discutée la Lectures supplémentaires?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Prima Porta"]}
{"id": 1200, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these \"Primaporta type\" features is the Augustus of Via bicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  \"primus inter pares\".  The head and neck were produced separately in Parian marble and inserted to the torso.", "entry": "subsection", "prompt": "Dans le contexte de Auguste de Prima Porta, expliquez la Portrait et la Polychromie.Veuillez sortir en anglais.", "section_entities": ["Ara Pacis", "Augustus", "Museo Nazionale Romano", "Parian marble", "Polykleitos", "Prima Porta"]}
{"id": 1201, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these \"Primaporta type\" features is the Augustus of Via bicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  \"primus inter pares\".  The head and neck were produced separately in Parian marble and inserted to the torso.", "entry": "subsection", "prompt": "Expliquer la Portrait concernant la Polychromie de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Ara Pacis", "Augustus", "Museo Nazionale Romano", "Parian marble", "Polykleitos", "Prima Porta"]}
{"id": 1202, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these \"Primaporta type\" features is the Augustus of Via bicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  \"primus inter pares\".  The head and neck were produced separately in Parian marble and inserted to the torso.", "entry": "subsection", "prompt": "Dans Auguste de Prima Porta, comment la Portrait de la Polychromie est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Ara Pacis", "Augustus", "Museo Nazionale Romano", "Parian marble", "Polykleitos", "Prima Porta"]}
{"id": 1203, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The haircut is made up of divided, thick strands of hair, with a strand directly over the middle of Augustus's forehead framed by other strands over it. From the left two strands stray onto the forehead, and from the right three strands, a hairstyle first found on this statue. This hairstyle also marks this statue out as Augustus from comparison with his portrait on his coinage, which can also give a date to it.  This particular hairstyle is used as the first sign identifying this portrait type of Augustus as the Prima Porta type, the second and most popular of three official portrait types: other hairstyles of Augustus may be seen on the Ara Pacis, for example. Another full-size statue of Augustus with these \"Primaporta type\" features is the Augustus of Via bicana, portraying Augustus in the role of Pontifex Maximus, now in the Museo Nazionale Romano.The face is idealized, but not as those of Polykleitos' statues. Augustus's face is not smoothed and shows details to indicate the individual features of Augustus. Art underwent important changes during Augustus's reign, with the extreme realism that dominated the Republican era giving way to Greek influence, as seen in the portraits of the emperors - idealizations summarizing all the virtues that should be possessed by the exceptional man worthy of governing the Empire.  In earlier portraits, Augustus allowed himself to be portrayed in monarchical fashion, but amended these with later more diplomatic images that represented him as  \"primus inter pares\".  The head and neck were produced separately in Parian marble and inserted to the torso.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Portrait dans la Polychromie de Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Ara Pacis", "Augustus", "Museo Nazionale Romano", "Parian marble", "Polykleitos", "Prima Porta"]}
{"id": 1204, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53&nbsp;BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king  returning Crassus's standard to an armored Roman . Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus.Aurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.", "entry": "subsection", "prompt": "Dans le contexte de Auguste de Prima Porta, expliquez la plastron soulagement et la Polychromie.Veuillez sortir en anglais.", "section_entities": ["Ara Pacis", "Augustus", "Cleopatra", "Horace", "Mark Antony", "Parthia", "Pax Romana", "Romulus and Remus"]}
{"id": 1205, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53&nbsp;BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king  returning Crassus's standard to an armored Roman . Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus.Aurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.", "entry": "subsection", "prompt": "Expliquer la plastron soulagement concernant la Polychromie de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Ara Pacis", "Augustus", "Cleopatra", "Horace", "Mark Antony", "Parthia", "Pax Romana", "Romulus and Remus"]}
{"id": 1206, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53&nbsp;BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king  returning Crassus's standard to an armored Roman . Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus.Aurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.", "entry": "subsection", "prompt": "Dans Auguste de Prima Porta, comment la plastron soulagement de la Polychromie est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Ara Pacis", "Augustus", "Cleopatra", "Horace", "Mark Antony", "Parthia", "Pax Romana", "Romulus and Remus"]}
{"id": 1207, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "The statue's iconography is frequently compared to that of the carmen saeculare by Horace, and commemorates Augustus's establishment of the Pax Romana.  The breastplate is carved in relief with numerous small figures depicting the return, thanks to the diplomacy of Augustus, of the Roman legionary eagles or aquilae lost to Parthia by Mark Antony in the 40s BC and by Crassus in 53&nbsp;BC.The figure in the centre, according to the most common interpretation, is the subjected Parthian king  returning Crassus's standard to an armored Roman . Other theory sees in the male figure the ideal incarnation of the Roman legions.  This was a very popular subject in Augustan propaganda, as one of his greatest international successes, and had to be especially strongly emphasized, since Augustus had been deterred by Parthian military strength from the war which the Roman people had expected and had instead opted for diplomacy. Below the armed figure we can see a dog, or probably a wolf or, according to archaeologist Ascanio Modena Altieri, a she-wolf, nurse of Romulus and Remus.Aurora and Lunathe personification of the subjected peoplesthe goddess Dianathe earth goddess Ceres/Tellus - similarly represented on the Ara PacisApollo, Augustus's patronthe personification of the tributary peoplesthe sun god Sola Sphinx on each shoulder, representing the defeat of Cleopatra by AugustusInterestingly, the cuirass is not solely frontal; there is a backside to the armor as well. On the bottom right side of the back of the cuirass, there is a helmeted trophy with a wing above, a carnyx on the left hip, and greaves against a tree trunk. There was an iron peg that is thought to have connected the statue to a wall. This is likely due to the back being unfinished None of these interpretations are undisputed.  The gods, however, probably all symbolize the continuity and logical consistency of the events - just as the sun and moon forever rise, so Roman successes are certain and divinely sanctioned.  Furthermore, these successes are connected with the wearer of this breastplate, Augustus.  The only active person is the Parthian king, implying that everything else is divinely desired and ordained.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la plastron soulagement dans la Polychromie de Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Ara Pacis", "Augustus", "Cleopatra", "Horace", "Mark Antony", "Parthia", "Pax Romana", "Romulus and Remus"]}
{"id": 1208, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "During his lifetime, Augustus did not wish to be depicted as a god , but this statue has many thinly-veiled references to the emperor's \"divine nature\", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid  at his feet  is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance. &nbsp;It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.", "entry": "subsection", "prompt": "Dans le contexte de Auguste de Prima Porta, expliquez la Statut divin et la Polychromie.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Cupid", "Julius Caesar", "Livia", "Mark Antony"]}
{"id": 1209, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "During his lifetime, Augustus did not wish to be depicted as a god , but this statue has many thinly-veiled references to the emperor's \"divine nature\", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid  at his feet  is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance. &nbsp;It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.", "entry": "subsection", "prompt": "Expliquer la Statut divin concernant la Polychromie de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Cupid", "Julius Caesar", "Livia", "Mark Antony"]}
{"id": 1210, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "During his lifetime, Augustus did not wish to be depicted as a god , but this statue has many thinly-veiled references to the emperor's \"divine nature\", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid  at his feet  is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance. &nbsp;It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.", "entry": "subsection", "prompt": "Dans Auguste de Prima Porta, comment la Statut divin de la Polychromie est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Augustus", "Cupid", "Julius Caesar", "Livia", "Mark Antony"]}
{"id": 1211, "title": "Auguste de Prima Porta", "en_title": "Augustus of Prima Porta", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5e/Augustus_of_Prima_Porta_%28inv._2290%29.jpg/270px-Augustus_of_Prima_Porta_%28inv._2290%29.jpg", "reference": "During his lifetime, Augustus did not wish to be depicted as a god , but this statue has many thinly-veiled references to the emperor's \"divine nature\", his genius.  Augustus is shown barefoot, which indicates that he is a hero and perhaps even a divus, and also adds a civilian aspect to an otherwise military portrait.  Being barefoot was only previously allowed on images of the gods, but it may also imply that the statue is a posthumous copy set up by Livia of a statue from the city of Rome in which Augustus was not barefoot.The small Cupid  at his feet  is a reference to the claim that the Julian family were descended from the goddess Venus, made by both Augustus and by his great uncle Julius Caesar - a way of claiming divine lineage without claiming the full divine status. The dolphin which Cupid rides has a political significance. &nbsp;It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Statut divin dans la Polychromie de Auguste de Prima Porta.Veuillez sortir en anglais.", "section_entities": ["Augustus", "Cupid", "Julius Caesar", "Livia", "Mark Antony"]}
{"id": 1212, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "Music in the Tuileries is an 1862The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-tour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures . It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh ne in 1903. After ne's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery . The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the ne Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.", "entry": "section", "prompt": "Concentrez-vous sur La Musique aux Tuileries et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Albert de Balleroy", "Charles Baudelaire", "Diego Velázquez", "Dublin", "Eugène Manet", "Frans Hals", "Jacques Offenbach", "Jean-Baptiste Faure", "Louvre", "National Gallery", "National Gallery", "Paul Durand-Ruel", "RMS Lusitania", "Théophile Gautier", "Zacharie Astruc"]}
{"id": 1213, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "Music in the Tuileries is an 1862The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-tour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures . It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh ne in 1903. After ne's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery . The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the ne Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, La Musique aux Tuileries.Veuillez sortir en anglais.", "section_entities": ["Albert de Balleroy", "Charles Baudelaire", "Diego Velázquez", "Dublin", "Eugène Manet", "Frans Hals", "Jacques Offenbach", "Jean-Baptiste Faure", "Louvre", "National Gallery", "National Gallery", "Paul Durand-Ruel", "RMS Lusitania", "Théophile Gautier", "Zacharie Astruc"]}
{"id": 1214, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "Music in the Tuileries is an 1862The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-tour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures . It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh ne in 1903. After ne's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery . The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the ne Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.", "entry": "section", "prompt": "Comment La Musique aux Tuileries explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Albert de Balleroy", "Charles Baudelaire", "Diego Velázquez", "Dublin", "Eugène Manet", "Frans Hals", "Jacques Offenbach", "Jean-Baptiste Faure", "Louvre", "National Gallery", "National Gallery", "Paul Durand-Ruel", "RMS Lusitania", "Théophile Gautier", "Zacharie Astruc"]}
{"id": 1215, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "Music in the Tuileries is an 1862The work is an early example of Manet's painterly style, inspired by Frans Hals and Diego Velázquez, and it is a harbinger of his lifelong interest in the subject of leisure. The painting influenced Manet's contemporaries – such as Monet, Renoir and Bazille – to paint similar large groups of people.The painting depicts the gatherings of Parisians at weekly concerts in the Tuileries gardens near the Louvre, although no musicians are depicted. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time; one may imagine the music and conversation.The iron chairs in the foreground had just replaced the wooden chairs in the garden in 1862. Manet has included several of his friends, artists, authors, and musicians who take part, and a self-portrait. Manet is depicted on the far left; next to him is another painter Albert de Balleroy. To their right, seated, is sculptor and critic Zacharie Astruc. Manet's brother Eugène Manet is in foreground, right of centre, with white trousers; the composer Jacques Offenbach with glasses and moustache sits against a tree to the right; critic Théophile Gautier stands against a tree in brown suit and full beard, while author Charles Baudelaire is to the left of Gautier. Henri Fantin-tour is further left, with beard, looking at the viewer. The fair-haired child in the centre is Léon Leenhoff. It has been noted that several of those depicted were prominent French Wagnerians, and speculated that the music being played might be by Wagner himself.The work measures . It was first exhibited in 1863, and Manet sold the painting to opera singer and collector Jean-Baptiste Faure in January of 1883, shortly before Manet's death. It was sold on to dealer Paul Durand-Ruel in 1898, and then to collector Sir Hugh ne in 1903. After ne's death, when RMS Lusitania was sunk in 1915, an unwitnessed codicil to his will left the painting to the Dublin City Gallery . The codicil was found to be invalid, and in 1917 a court case decided that his previous will left the work to the National Gallery in London. After intervention from the Irish government, the two galleries reached a compromise in 1959, agreeing to share the paintings, with half of the ne Bequest lent and shown in Dublin every five years. The agreement was varied in 1993 so that 31 of the 39 paintings would stay in Ireland, and four of the remaining eight would be lent to Dublin for six years at a time.", "entry": "section", "prompt": "Dans La Musique aux Tuileries, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Albert de Balleroy", "Charles Baudelaire", "Diego Velázquez", "Dublin", "Eugène Manet", "Frans Hals", "Jacques Offenbach", "Jean-Baptiste Faure", "Louvre", "National Gallery", "National Gallery", "Paul Durand-Ruel", "RMS Lusitania", "Théophile Gautier", "Zacharie Astruc"]}
{"id": 1216, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.", "entry": "section", "prompt": "Concentrez-vous sur La Musique aux Tuileries et expliquez la Matériaux de peinture.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1217, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.", "entry": "section", "prompt": "Expliquer la Matériaux de peinture de cette œuvre d'art, La Musique aux Tuileries.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1218, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.", "entry": "section", "prompt": "Comment La Musique aux Tuileries explique-t-il sa Matériaux de peinture?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1219, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "The colors in greater areas of this painting are generally subdued and executed in ochres or in mixtures of several pigments. The dark green foliage in the upper part contains a glaze of emerald green and Scheele's green mixed with yellow lake with small addition of ivory black and yellow ochre. The strong colourful accents in the bonnets and clothes of the children are painted in almost pure pigments such as cobalt blue, vermilion or chrome orange.", "entry": "section", "prompt": "Dans La Musique aux Tuileries, comment est discutée la Matériaux de peinture?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1220, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, \"it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited\". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.", "entry": "section", "prompt": "Concentrez-vous sur La Musique aux Tuileries et expliquez la Réception.Veuillez sortir en anglais.", "section_entities": ["Ernest Meissonier"]}
{"id": 1221, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, \"it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited\". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.", "entry": "section", "prompt": "Expliquer la Réception de cette œuvre d'art, La Musique aux Tuileries.Veuillez sortir en anglais.", "section_entities": ["Ernest Meissonier"]}
{"id": 1222, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, \"it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited\". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.", "entry": "section", "prompt": "Comment La Musique aux Tuileries explique-t-il sa Réception?Veuillez sortir en anglais.", "section_entities": ["Ernest Meissonier"]}
{"id": 1223, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "Music in the Tuileries received substantial critical and public attention, most of it negative. In the words of one Manet biographer, \"it is difficult for us to imagine the kind of fury Music in the Tuileries provoked when it was exhibited\". By portraying Manet's social circle instead of classical heroes, historical icons, or gods, the painting could be interpreted as challenging the value of those subjects or as an attempt to elevate his contemporaries to the same level. The public, accustomed to the finely detailed brushwork of historical painters such as Ernest Meissonier, thought Manet's thick brushstrokes looked crude and unfinished. Angered by the subject matter and technique, several visitors even threatened to destroy the painting. One of Manet's idols, Eugène Delacroix, was of the painting's few defenders.", "entry": "section", "prompt": "Dans La Musique aux Tuileries, comment est discutée la Réception?Veuillez sortir en anglais.", "section_entities": ["Ernest Meissonier"]}
{"id": 1224, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "List of paintings by Édouard Manet 1862 in art", "entry": "section", "prompt": "Concentrez-vous sur La Musique aux Tuileries et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["1862 in art", "List of paintings by Édouard Manet", "Édouard Manet"]}
{"id": 1225, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "List of paintings by Édouard Manet 1862 in art", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, La Musique aux Tuileries.Veuillez sortir en anglais.", "section_entities": ["1862 in art", "List of paintings by Édouard Manet", "Édouard Manet"]}
{"id": 1226, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "List of paintings by Édouard Manet 1862 in art", "entry": "section", "prompt": "Comment La Musique aux Tuileries explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["1862 in art", "List of paintings by Édouard Manet", "Édouard Manet"]}
{"id": 1227, "title": "La Musique aux Tuileries", "en_title": "Music in the Tuileries", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/9/94/MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg/450px-MANET_-_M%C3%BAsica_en_las_Tuller%C3%ADas_%28National_Gallery%2C_Londres%2C_1862%29.jpg", "reference": "List of paintings by Édouard Manet 1862 in art", "entry": "section", "prompt": "Dans La Musique aux Tuileries, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["1862 in art", "List of paintings by Édouard Manet", "Édouard Manet"]}
{"id": 1228, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "type = Fountain height =  height_metric = 312 width_metric =  length_metric =  height_imperial = 1024 width_imperial =  length_imperial =  diameter_metric =  diameter_imperial =  dimension =  metric_unit = m imperial_unit = ft condition =  city = Jeddah, Saudi Arabia coordinates =  owner =  url = }}King Fahd's Fountain , also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.", "entry": "section", "prompt": "Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Fountain", "Jeddah", "Saudi Arabia"]}
{"id": 1229, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "type = Fountain height =  height_metric = 312 width_metric =  length_metric =  height_imperial = 1024 width_imperial =  length_imperial =  diameter_metric =  diameter_imperial =  dimension =  metric_unit = m imperial_unit = ft condition =  city = Jeddah, Saudi Arabia coordinates =  owner =  url = }}King Fahd's Fountain , also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.", "section_entities": ["Fountain", "Jeddah", "Saudi Arabia"]}
{"id": 1230, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "type = Fountain height =  height_metric = 312 width_metric =  length_metric =  height_imperial = 1024 width_imperial =  length_imperial =  diameter_metric =  diameter_imperial =  dimension =  metric_unit = m imperial_unit = ft condition =  city = Jeddah, Saudi Arabia coordinates =  owner =  url = }}King Fahd's Fountain , also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.", "entry": "section", "prompt": "Comment Jet d'eau du roi Fahd explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Fountain", "Jeddah", "Saudi Arabia"]}
{"id": 1231, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "type = Fountain height =  height_metric = 312 width_metric =  length_metric =  height_imperial = 1024 width_imperial =  length_imperial =  diameter_metric =  diameter_imperial =  dimension =  metric_unit = m imperial_unit = ft condition =  city = Jeddah, Saudi Arabia coordinates =  owner =  url = }}King Fahd's Fountain , also known as the Jeddah Fountain, is in Jeddah, Saudi Arabia. It is the tallest fountain of its type in the world. It is named after King Fahd bin Abdulaziz, the ruler of Saudi Arabia from 1982 until 2005.", "entry": "section", "prompt": "Dans Jet d'eau du roi Fahd, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Fountain", "Jeddah", "Saudi Arabia"]}
{"id": 1232, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of . The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of .King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world. The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.", "entry": "section", "prompt": "Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Aperçu.Veuillez sortir en anglais.", "section_entities": ["Fountain", "Guinness World Records", "Jeddah", "Red Sea", "Saudi Arabia", "Seoul", "South Korea", "World Cup Fountain"]}
{"id": 1233, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of . The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of .King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world. The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.", "entry": "section", "prompt": "Expliquer la Aperçu de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.", "section_entities": ["Fountain", "Guinness World Records", "Jeddah", "Red Sea", "Saudi Arabia", "Seoul", "South Korea", "World Cup Fountain"]}
{"id": 1234, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of . The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of .King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world. The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.", "entry": "section", "prompt": "Comment Jet d'eau du roi Fahd explique-t-il sa Aperçu?Veuillez sortir en anglais.", "section_entities": ["Fountain", "Guinness World Records", "Jeddah", "Red Sea", "Saudi Arabia", "Seoul", "South Korea", "World Cup Fountain"]}
{"id": 1235, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The fountain was donated to the city of Jeddah by King Fahd, hence its name. It was constructed between 1980 and 1983 and was launched in 1985.Located on the west coast of Saudi Arabia, the fountain jets water to a maximum height of . The second-tallest is the World Cup Fountain in Seoul, South Korea, with a water height of .King Fahd's Fountain is listed in Guinness World Records as the highest water fountain in the world. The fountain uses saltwater taken from the Red Sea instead of freshwater. Over 500 LED spotlights illuminate the fountain at night.", "entry": "section", "prompt": "Dans Jet d'eau du roi Fahd, comment est discutée la Aperçu?Veuillez sortir en anglais.", "section_entities": ["Fountain", "Guinness World Records", "Jeddah", "Red Sea", "Saudi Arabia", "Seoul", "South Korea", "World Cup Fountain"]}
{"id": 1236, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain , but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters .Team Red Bull Air Force base jumper Othar wrence set a global record by making a historic jump along the fountain.", "entry": "section", "prompt": "Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Histoire.Veuillez sortir en anglais.", "section_entities": ["Fountain"]}
{"id": 1237, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain , but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters .Team Red Bull Air Force base jumper Othar wrence set a global record by making a historic jump along the fountain.", "entry": "section", "prompt": "Expliquer la Histoire de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.", "section_entities": ["Fountain"]}
{"id": 1238, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain , but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters .Team Red Bull Air Force base jumper Othar wrence set a global record by making a historic jump along the fountain.", "entry": "section", "prompt": "Comment Jet d'eau du roi Fahd explique-t-il sa Histoire?Veuillez sortir en anglais.", "section_entities": ["Fountain"]}
{"id": 1239, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The fountain was initially built between 1980 and 1983, and was inspired by the Geneva Fountain , but the planners were not satisfied with the height. The fountain was then operated in its current form in 1985 to pump sea water at a speed of 233 miles per hour to a height of 312 meters .Team Red Bull Air Force base jumper Othar wrence set a global record by making a historic jump along the fountain.", "entry": "section", "prompt": "Dans Jet d'eau du roi Fahd, comment est discutée la Histoire?Veuillez sortir en anglais.", "section_entities": ["Fountain"]}
{"id": 1240, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.", "entry": "section", "prompt": "Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Conception.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1241, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.", "entry": "section", "prompt": "Expliquer la Conception de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1242, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.", "entry": "section", "prompt": "Comment Jet d'eau du roi Fahd explique-t-il sa Conception?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1243, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "The base of the fountain is in the form of a large mabkhara, an incense burner which symbolizes Arabian culture. Since the fountain pumps sea water, rust and corrosion were the main concerns of those who built it. Before reaching the pump, the water passes through several filters to purify it from dirt, sand and organic matter. The fountain is lit by 500 high-light LEDs.", "entry": "section", "prompt": "Dans Jet d'eau du roi Fahd, comment est discutée la Conception?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1244, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "List of things named after Saudi kings", "entry": "section", "prompt": "Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["List of things named after Saudi kings"]}
{"id": 1245, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "List of things named after Saudi kings", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.", "section_entities": ["List of things named after Saudi kings"]}
{"id": 1246, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "List of things named after Saudi kings", "entry": "section", "prompt": "Comment Jet d'eau du roi Fahd explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of things named after Saudi kings"]}
{"id": 1247, "title": "Jet d'eau du roi Fahd", "en_title": "King Fahd's Fountain", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/BSM_2571.jpg/270px-BSM_2571.jpg", "reference": "List of things named after Saudi kings", "entry": "section", "prompt": "Dans Jet d'eau du roi Fahd, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["List of things named after Saudi kings"]}
{"id": 1248, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "Woman Holding a Balance , also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.", "entry": "section", "prompt": "Concentrez-vous sur La Femme à la balance et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Johannes Vermeer", "National Gallery of Art"]}
{"id": 1249, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "Woman Holding a Balance , also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.", "section_entities": ["Johannes Vermeer", "National Gallery of Art"]}
{"id": 1250, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "Woman Holding a Balance , also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.", "entry": "section", "prompt": "Comment La Femme à la balance explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Johannes Vermeer", "National Gallery of Art"]}
{"id": 1251, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "Woman Holding a Balance , also called Woman Testing a Balance, is an oil painting by  Dutch Golden Age painter  Johannes Vermeer, now in the National Gallery of Art in Washington, DC.At one time the painting, completed c. 1662–1663, was known as Woman Weighing Gold, but closer evaluation has determined that the balance in her hand is empty. Opinions on the theme and symbolism of the painting differ, with the woman alternatively viewed as a symbol of holiness or earthliness.", "entry": "section", "prompt": "Dans La Femme à la balance, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Johannes Vermeer", "National Gallery of Art"]}
{"id": 1252, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the st Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal , the image has been variously \"interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life.\"", "entry": "section", "prompt": "Concentrez-vous sur La Femme à la balance et expliquez la Thème.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1253, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the st Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal , the image has been variously \"interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life.\"", "entry": "section", "prompt": "Expliquer la Thème de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1254, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the st Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal , the image has been variously \"interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life.\"", "entry": "section", "prompt": "Comment La Femme à la balance explique-t-il sa Thème?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1255, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "In the painting, Vermeer has depicted, what discreetly appears to be a young pregnant woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the st Judgment featuring Christ with raised, outstretched hands. The woman may have been modeled on Vermeer's wife, Catharina Vermeer.According to Robert Huerta in Vermeer and Plato: Painting the Ideal , the image has been variously \"interpreted as a vanitas painting, as a representation of divine truth or justice, as a religious meditative aid, and as an incitement to lead a balanced, thoughtful life.\"", "entry": "section", "prompt": "Dans La Femme à la balance, comment est discutée la Thème?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1256, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius . It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table  and The Officer and the ughing Girl , but somewhat below The Milkmaid .", "entry": "section", "prompt": "Concentrez-vous sur La Femme à la balance et expliquez la Histoire.Veuillez sortir en anglais.", "section_entities": ["Jacob Dissius"]}
{"id": 1257, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius . It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table  and The Officer and the ughing Girl , but somewhat below The Milkmaid .", "entry": "section", "prompt": "Expliquer la Histoire de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.", "section_entities": ["Jacob Dissius"]}
{"id": 1258, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius . It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table  and The Officer and the ughing Girl , but somewhat below The Milkmaid .", "entry": "section", "prompt": "Comment La Femme à la balance explique-t-il sa Histoire?Veuillez sortir en anglais.", "section_entities": ["Jacob Dissius"]}
{"id": 1259, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "Completed in 1662 or 1663, the painting was previously called Woman Weighing Gold before microscopic evaluation confirms that the balance in her hands is empty. The painting was among the large collection of Vermeer works sold on May 16, 1696, in Amsterdam from the estate of Jacob Dissius . It received 155 guilders, considerably above the prices fetched at the time for his Girl Asleep at a Table  and The Officer and the ughing Girl , but somewhat below The Milkmaid .", "entry": "section", "prompt": "Dans La Femme à la balance, comment est discutée la Histoire?Veuillez sortir en anglais.", "section_entities": ["Jacob Dissius"]}
{"id": 1260, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller  and M.E. Gifford  have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.", "entry": "section", "prompt": "Concentrez-vous sur La Femme à la balance et expliquez la Matériaux de peinture.Veuillez sortir en anglais.", "section_entities": ["Indian yellow"]}
{"id": 1261, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller  and M.E. Gifford  have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.", "entry": "section", "prompt": "Expliquer la Matériaux de peinture de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.", "section_entities": ["Indian yellow"]}
{"id": 1262, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller  and M.E. Gifford  have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.", "entry": "section", "prompt": "Comment La Femme à la balance explique-t-il sa Matériaux de peinture?Veuillez sortir en anglais.", "section_entities": ["Indian yellow"]}
{"id": 1263, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "The first pigment analysis of this painting by Hermann Kühn revealed the use of ultramarine for the blue tablecloth and lead white for the grey wall. The pigment in the bright yellow curtain was identified as Indian yellow. The subsequent technical investigations of the painting by Robert L. Feller  and M.E. Gifford  have shown that the painting had been extended by approximately five centimetres on every side at a much later date. The sample investigated by H. Kühn in 1968 was unfortunately taken from this extension. The proper pigment of the yellow curtain is lead-tin-yellow. The full pigment analysis according to the latest data is illustrated at Colourlex.", "entry": "section", "prompt": "Dans La Femme à la balance, comment est discutée la Matériaux de peinture?Veuillez sortir en anglais.", "section_entities": ["Indian yellow"]}
{"id": 1264, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "List of paintings by Johannes Vermeer", "entry": "section", "prompt": "Concentrez-vous sur La Femme à la balance et expliquez la Voir aussi.Veuillez sortir en anglais.", "section_entities": ["Johannes Vermeer", "List of paintings by Johannes Vermeer"]}
{"id": 1265, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "List of paintings by Johannes Vermeer", "entry": "section", "prompt": "Expliquer la Voir aussi de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.", "section_entities": ["Johannes Vermeer", "List of paintings by Johannes Vermeer"]}
{"id": 1266, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "List of paintings by Johannes Vermeer", "entry": "section", "prompt": "Comment La Femme à la balance explique-t-il sa Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Johannes Vermeer", "List of paintings by Johannes Vermeer"]}
{"id": 1267, "title": "La Femme à la balance", "en_title": "Woman Holding a Balance", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg/270px-Johannes_Vermeer_-_Woman_Holding_a_Balance_-_Google_Art_Project.jpg", "reference": "List of paintings by Johannes Vermeer", "entry": "section", "prompt": "Dans La Femme à la balance, comment est discutée la Voir aussi?Veuillez sortir en anglais.", "section_entities": ["Johannes Vermeer", "List of paintings by Johannes Vermeer"]}
{"id": 1268, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "type               = Sculpture material           =  subject            = Wikipedia community height_metric      = 250 width_metric       = 60 length_metric      = 60 height_imperial    = width_imperial     = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = dimensions_ref     = metric_unit        = cm imperial_unit      = in city               = Słubice, Poland museum             = accession          = coordinates        =  mapframe           = yes mapframe-zoom      = 13 owner              = Słubice regional authorities url                = }}The Wikipedia Monument , located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square  on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.", "entry": "section", "prompt": "Concentrez-vous sur monument à Wikipédia et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Mihran Hakobyan", "Poland", "Słubice", "Wikimedia Foundation", "Wikipedia"]}
{"id": 1269, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "type               = Sculpture material           =  subject            = Wikipedia community height_metric      = 250 width_metric       = 60 length_metric      = 60 height_imperial    = width_imperial     = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = dimensions_ref     = metric_unit        = cm imperial_unit      = in city               = Słubice, Poland museum             = accession          = coordinates        =  mapframe           = yes mapframe-zoom      = 13 owner              = Słubice regional authorities url                = }}The Wikipedia Monument , located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square  on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, monument à Wikipédia.Veuillez sortir en anglais.", "section_entities": ["Mihran Hakobyan", "Poland", "Słubice", "Wikimedia Foundation", "Wikipedia"]}
{"id": 1270, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "type               = Sculpture material           =  subject            = Wikipedia community height_metric      = 250 width_metric       = 60 length_metric      = 60 height_imperial    = width_imperial     = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = dimensions_ref     = metric_unit        = cm imperial_unit      = in city               = Słubice, Poland museum             = accession          = coordinates        =  mapframe           = yes mapframe-zoom      = 13 owner              = Słubice regional authorities url                = }}The Wikipedia Monument , located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square  on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.", "entry": "section", "prompt": "Comment monument à Wikipédia explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Mihran Hakobyan", "Poland", "Słubice", "Wikimedia Foundation", "Wikipedia"]}
{"id": 1271, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "type               = Sculpture material           =  subject            = Wikipedia community height_metric      = 250 width_metric       = 60 length_metric      = 60 height_imperial    = width_imperial     = length_imperial    = diameter_metric    = diameter_imperial  = dimensions         = dimensions_ref     = metric_unit        = cm imperial_unit      = in city               = Słubice, Poland museum             = accession          = coordinates        =  mapframe           = yes mapframe-zoom      = 13 owner              = Słubice regional authorities url                = }}The Wikipedia Monument , located in Słubice, Poland, is a statue designed by Armenian sculptor Mihran Hakobyan honoring Wikipedia contributors. It was unveiled in Frankfurt Square  on 22 October 2014 in a ceremony that included representatives from both local Wikimedia chapters and the Wikimedia Foundation.", "entry": "section", "prompt": "Dans monument à Wikipédia, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Mihran Hakobyan", "Poland", "Słubice", "Wikimedia Foundation", "Wikipedia"]}
{"id": 1272, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, It cost about 50,000 złotys  and was funded by Słubice regional authorities.</blockquote>", "entry": "section", "prompt": "Concentrez-vous sur monument à Wikipédia et expliquez la Description.Veuillez sortir en anglais.", "section_entities": ["Słubice", "Wikipedia", "Wikipedia logo"]}
{"id": 1273, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, It cost about 50,000 złotys  and was funded by Słubice regional authorities.</blockquote>", "entry": "section", "prompt": "Expliquer la Description de cette œuvre d'art, monument à Wikipédia.Veuillez sortir en anglais.", "section_entities": ["Słubice", "Wikipedia", "Wikipedia logo"]}
{"id": 1274, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, It cost about 50,000 złotys  and was funded by Słubice regional authorities.</blockquote>", "entry": "section", "prompt": "Comment monument à Wikipédia explique-t-il sa Description?Veuillez sortir en anglais.", "section_entities": ["Słubice", "Wikipedia", "Wikipedia logo"]}
{"id": 1275, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "The monument depicts four nude figures holding aloft a globe based on the Wikipedia logo, It cost about 50,000 złotys  and was funded by Słubice regional authorities.</blockquote>", "entry": "section", "prompt": "Dans monument à Wikipédia, comment est discutée la Description?Veuillez sortir en anglais.", "section_entities": ["Słubice", "Wikipedia", "Wikipedia logo"]}
{"id": 1276, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "The monument was suggested around 2010 Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial \"will highlight the town's importance as an academic centre\". becoming the world's first monument to the online encyclopedia. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address. we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.Jimmy Wales, the co-founder of Wikipedia, on the occasion of the unveiling}}", "entry": "section", "prompt": "Concentrez-vous sur monument à Wikipédia et expliquez la Histoire.Veuillez sortir en anglais.", "section_entities": ["Common Knowledge?", "Dariusz Jemielniak", "Poland", "Polish Wikipedia", "Słubice", "Wiki Loves Monuments", "Wikipedia"]}
{"id": 1277, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "The monument was suggested around 2010 Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial \"will highlight the town's importance as an academic centre\". becoming the world's first monument to the online encyclopedia. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address. we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.Jimmy Wales, the co-founder of Wikipedia, on the occasion of the unveiling}}", "entry": "section", "prompt": "Expliquer la Histoire de cette œuvre d'art, monument à Wikipédia.Veuillez sortir en anglais.", "section_entities": ["Common Knowledge?", "Dariusz Jemielniak", "Poland", "Polish Wikipedia", "Słubice", "Wiki Loves Monuments", "Wikipedia"]}
{"id": 1278, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "The monument was suggested around 2010 Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial \"will highlight the town's importance as an academic centre\". becoming the world's first monument to the online encyclopedia. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address. we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.Jimmy Wales, the co-founder of Wikipedia, on the occasion of the unveiling}}", "entry": "section", "prompt": "Comment monument à Wikipédia explique-t-il sa Histoire?Veuillez sortir en anglais.", "section_entities": ["Common Knowledge?", "Dariusz Jemielniak", "Poland", "Polish Wikipedia", "Słubice", "Wiki Loves Monuments", "Wikipedia"]}
{"id": 1279, "title": "monument à Wikipédia", "en_title": "Wikipedia Monument", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Wikipedia_Monument_2.JPG/270px-Wikipedia_Monument_2.JPG", "reference": "The monument was suggested around 2010 Polish Wikipedia is a popular website in Poland and, with over a million articles, the 10th-largest Wikipedia in the world. According to Piotr Łuczyński, deputy mayor, the memorial \"will highlight the town's importance as an academic centre\". becoming the world's first monument to the online encyclopedia. Dariusz Jemielniak, a professor of management, Wikimedia activist, and an author of the 2014 book Common Knowledge? An Ethnography of Wikipedia, delivered an opening ceremony address. we write about them, we photograph them with our Wiki Loves Monuments competition, and now we have a monument of our own. It is a truly special and exciting day, and one that I hope shines the spotlight on the thousands of Wikimedians who edit Wikipedia and make it the source of free knowledge it has come to be. I look forward to visiting Słubice one day to see the monument for myself and perhaps meeting some of those involved in the project.Jimmy Wales, the co-founder of Wikipedia, on the occasion of the unveiling}}", "entry": "section", "prompt": "Dans monument à Wikipédia, comment est discutée la Histoire?Veuillez sortir en anglais.", "section_entities": ["Common Knowledge?", "Dariusz Jemielniak", "Poland", "Polish Wikipedia", "Słubice", "Wiki Loves Monuments", "Wikipedia"]}
{"id": 1280, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Black Square  is a 1915 oil on linen canvas painting by the artist Kazimir Malevich  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement .A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as \"desperate struggle to free art from the ballast of the objective world\" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works.The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White , Black Circle , and Black Cross . Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The st Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the \"zero point of painting\"; since then, it has had a significant influence on minimalist art.", "entry": "section", "prompt": "Concentrez-vous sur Carré noir sur fond blanc et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Black Circle", "Kazimir Malevich", "Russian avant-garde", "Ukraine", "White on White"]}
{"id": 1281, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Black Square  is a 1915 oil on linen canvas painting by the artist Kazimir Malevich  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement .A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as \"desperate struggle to free art from the ballast of the objective world\" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works.The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White , Black Circle , and Black Cross . Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The st Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the \"zero point of painting\"; since then, it has had a significant influence on minimalist art.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.", "section_entities": ["Black Circle", "Kazimir Malevich", "Russian avant-garde", "Ukraine", "White on White"]}
{"id": 1282, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Black Square  is a 1915 oil on linen canvas painting by the artist Kazimir Malevich  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement .A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as \"desperate struggle to free art from the ballast of the objective world\" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works.The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White , Black Circle , and Black Cross . Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The st Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the \"zero point of painting\"; since then, it has had a significant influence on minimalist art.", "entry": "section", "prompt": "Comment Carré noir sur fond blanc explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Black Circle", "Kazimir Malevich", "Russian avant-garde", "Ukraine", "White on White"]}
{"id": 1283, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Black Square  is a 1915 oil on linen canvas painting by the artist Kazimir Malevich  The first of four painted versions, the original was completed in 1915 and described by the artist as his breakthrough work and the inception for the launch of his Suprematist art movement .A leading member of the Russian avant-garde, Malevich was born in 1878 in today's Ukraine. In his manifesto for the Suprematist movement Malevich said the paintings were intended as \"desperate struggle to free art from the ballast of the objective world\" by focusing only on form. He sought to create paintings that all could understand and that would have an emotional impact comparable to religious works.The 1915 Black Square was the turning point in his career and defined the aesthetic he was to follow for the remainder of his career; his other significant paintings include variants such as White on White , Black Circle , and Black Cross . Malevich painted three other versions; in 1923, 1929, and between the late 1920s and early 1930s. Each version differs slightly in size and texture.The original painting was first shown at The st Futurist Exhibition 0,10 in 1915. The last is thought to have been painted during the late 1920s or early 1930s. Malevich described the 1915 painting as the \"zero point of painting\"; since then, it has had a significant influence on minimalist art.", "entry": "section", "prompt": "Dans Carré noir sur fond blanc, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Black Circle", "Kazimir Malevich", "Russian avant-garde", "Ukraine", "White on White"]}
{"id": 1284, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain \"suggests the sun's coffin\", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square \"will have great significance in painting\" and is the \"embryo of all possibilities; in its development it acquires a terrible strength.\"", "entry": "section", "prompt": "Concentrez-vous sur Carré noir sur fond blanc et expliquez la Conception.Veuillez sortir en anglais.", "section_entities": ["Frances Spalding", "Impressionism", "Kazimir Malevich", "Kyiv", "Mikhail Matyushin", "Moscow", "Saint Petersburg", "Tsar", "Victory over the Sun"]}
{"id": 1285, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain \"suggests the sun's coffin\", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square \"will have great significance in painting\" and is the \"embryo of all possibilities; in its development it acquires a terrible strength.\"", "entry": "section", "prompt": "Expliquer la Conception de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.", "section_entities": ["Frances Spalding", "Impressionism", "Kazimir Malevich", "Kyiv", "Mikhail Matyushin", "Moscow", "Saint Petersburg", "Tsar", "Victory over the Sun"]}
{"id": 1286, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain \"suggests the sun's coffin\", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square \"will have great significance in painting\" and is the \"embryo of all possibilities; in its development it acquires a terrible strength.\"", "entry": "section", "prompt": "Comment Carré noir sur fond blanc explique-t-il sa Conception?Veuillez sortir en anglais.", "section_entities": ["Frances Spalding", "Impressionism", "Kazimir Malevich", "Kyiv", "Mikhail Matyushin", "Moscow", "Saint Petersburg", "Tsar", "Victory over the Sun"]}
{"id": 1287, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "A self-taught artist, Kazimir Malevich's early works, created while still a teenager, incorporate the style and motifs of Ukrainian and Russian folk art and Eastern Orthodox icons. In the early 1900s, when he was heavily influenced by late 19th-century Impressionism. He moved from his birthplace of Kyiv to Moscow in 1907, He first used the motif of a black square while working as the stage designer for the premiere of the Cubo-Futuristic opera Victory over the Sun by the painter and composer Mikhail Matyushin's , staged at the Luna Park Theater in Saint Petersburg on 3 December, 1913. Although the opera is ostensibly a comedic farce, the plot satirises the religious dogma and Tsarist autocracy then dominating pre-revolution Russia. During the pivotal scene depicting the death of the sun, black squares appear eight times: on a curtain and the backdrops, and on the coats and hats of the sun's pall bearers.According to the art historian Frances Spalding, the square on the curtain \"suggests the sun's coffin\", while other critics view it as an expression of the victory of active human creativity over the passive form of nature: a black square appeared instead of a solar circle. He was immediately aware of the design's potential, wrote pleading letters to Matyushin to retain it when the composer was planning a 1915 performance of the opera. In the letters, Malevich claimed that the square \"will have great significance in painting\" and is the \"embryo of all possibilities; in its development it acquires a terrible strength.\"", "entry": "section", "prompt": "Dans Carré noir sur fond blanc, comment est discutée la Conception?Veuillez sortir en anglais.", "section_entities": ["Frances Spalding", "Impressionism", "Kazimir Malevich", "Kyiv", "Mikhail Matyushin", "Moscow", "Saint Petersburg", "Tsar", "Victory over the Sun"]}
{"id": 1288, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription \"1913\", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.", "entry": "section", "prompt": "Concentrez-vous sur Carré noir sur fond blanc et expliquez la Composition.Veuillez sortir en anglais.", "section_entities": ["Abstract art", "Modernism", "Saint Petersburg", "Tate", "Tate Modern", "Victory over the Sun"]}
{"id": 1289, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription \"1913\", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.", "entry": "section", "prompt": "Expliquer la Composition de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.", "section_entities": ["Abstract art", "Modernism", "Saint Petersburg", "Tate", "Tate Modern", "Victory over the Sun"]}
{"id": 1290, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription \"1913\", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.", "entry": "section", "prompt": "Comment Carré noir sur fond blanc explique-t-il sa Composition?Veuillez sortir en anglais.", "section_entities": ["Abstract art", "Modernism", "Saint Petersburg", "Tate", "Tate Modern", "Victory over the Sun"]}
{"id": 1291, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Malevich created the first version in 1915 using broad strokes of thick black oil paint onto a 79.5cm x 79.5cm  linen canvas. The border and edges were applied with various shades of white and grey paint. leftThe painting was first shown at the 1915 The st Futurist Exhibition 0,10 at the Field of Mars square in Saint Petersburg . Its hanging in the icon corner emphasised the collision between Modernism and traditional Eastern Orthodox culture.Over the following decades, Malevich made three other oil on canvas on canvas variants . He created numerous lithographs of the image, used it to decorate his signature, and applied it to lapels he gave to his students. The reverse contains the inscription \"1913\", however, this is thought to refer to the year of the design's conception that year for Victory over the Sun. He continued to refer to it as The main Suprematist element. Square. 1913. According to an overview of the work by Tate Modern, Malevich may have given an earlier date to appear more ahead of the curve during the early years of Abstract art.", "entry": "section", "prompt": "Dans Carré noir sur fond blanc, comment est discutée la Composition?Veuillez sortir en anglais.", "section_entities": ["Abstract art", "Modernism", "Saint Petersburg", "Tate", "Tate Modern", "Victory over the Sun"]}
{"id": 1292, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title \"Suprematism\" is derived from the word supremus , which translates as \"superior\" or \"perfected\", which Malevich said reflected his desire to \"liberate\" painting from mimesis  and representational art.", "entry": "section", "prompt": "Concentrez-vous sur Carré noir sur fond blanc et expliquez la Interprétation.Veuillez sortir en anglais.", "section_entities": ["Suprematism", "Suprematism"]}
{"id": 1293, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title \"Suprematism\" is derived from the word supremus , which translates as \"superior\" or \"perfected\", which Malevich said reflected his desire to \"liberate\" painting from mimesis  and representational art.", "entry": "section", "prompt": "Expliquer la Interprétation de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.", "section_entities": ["Suprematism", "Suprematism"]}
{"id": 1294, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title \"Suprematism\" is derived from the word supremus , which translates as \"superior\" or \"perfected\", which Malevich said reflected his desire to \"liberate\" painting from mimesis  and representational art.", "entry": "section", "prompt": "Comment Carré noir sur fond blanc explique-t-il sa Interprétation?Veuillez sortir en anglais.", "section_entities": ["Suprematism", "Suprematism"]}
{"id": 1295, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Black Square is widely regarded by art historians as foundational in the development of both modern and abstract art. Malevich said the paintings began the Suprematism movement, which emphasised colour and shape. The title \"Suprematism\" is derived from the word supremus , which translates as \"superior\" or \"perfected\", which Malevich said reflected his desire to \"liberate\" painting from mimesis  and representational art.", "entry": "section", "prompt": "Dans Carré noir sur fond blanc, comment est discutée la Interprétation?Veuillez sortir en anglais.", "section_entities": ["Suprematism", "Suprematism"]}
{"id": 1296, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called \"degenerate art\", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to \"family, home and church\", and was \"ironically...a mirror image of the socialist realism of the hated Communists.\"Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.", "entry": "section", "prompt": "Concentrez-vous sur Carré noir sur fond blanc et expliquez la Influence.Veuillez sortir en anglais.", "section_entities": ["Aryan", "Avant-garde", "Berlin", "Grosse Kunstausstellung", "Joseph Stalin", "Modern art"]}
{"id": 1297, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called \"degenerate art\", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to \"family, home and church\", and was \"ironically...a mirror image of the socialist realism of the hated Communists.\"Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.", "entry": "section", "prompt": "Expliquer la Influence de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.", "section_entities": ["Aryan", "Avant-garde", "Berlin", "Grosse Kunstausstellung", "Joseph Stalin", "Modern art"]}
{"id": 1298, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called \"degenerate art\", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to \"family, home and church\", and was \"ironically...a mirror image of the socialist realism of the hated Communists.\"Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.", "entry": "section", "prompt": "Comment Carré noir sur fond blanc explique-t-il sa Influence?Veuillez sortir en anglais.", "section_entities": ["Aryan", "Avant-garde", "Berlin", "Grosse Kunstausstellung", "Joseph Stalin", "Modern art"]}
{"id": 1299, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Avant-garde art fell from favour after Joseph Stalin took absolute control of the USSR in the late 1920s. Stalin was notoriously suspicious of people who traveled outside the Soviet Union, and Malevich came to the attention of Stalin's secret police as a possible dissident in early 1927 when he traveled to Berlin to attended the Grosse Kunstausstellung exhibition where around 70 of his paintings and drawings scheduled for display. Malevich was aware that progressive artists were likely to be suppressed in Russia, and made attempts to relocate to Germany, where the Nazi party was already targeting so-called \"degenerate art\", that is art that did not conform to the idealised Aryan way of living, which was based around, according to the historian Tony Wood a dedication to \"family, home and church\", and was \"ironically...a mirror image of the socialist realism of the hated Communists.\"Malevich was arrested for several days in 1930. His work was officially banned in the USSR shortly after his early death in 1935 after Stalin's favoured socialist realism was designated the official art of the union, and many other art forms were suppressed.Although Black Square wasn't exhibited again until the 1980s, today the work is regarded as historically significant in Modern art, and one of the most recognisable 20th century paintings.", "entry": "section", "prompt": "Dans Carré noir sur fond blanc, comment est discutée la Influence?Veuillez sortir en anglais.", "section_entities": ["Aryan", "Avant-garde", "Berlin", "Grosse Kunstausstellung", "Joseph Stalin", "Modern art"]}
{"id": 1300, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, \"the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months.\"", "entry": "section", "prompt": "Concentrez-vous sur Carré noir sur fond blanc et expliquez la Condition.Veuillez sortir en anglais.", "section_entities": ["Peter Schjeldahl", "Russian avant-garde"]}
{"id": 1301, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, \"the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months.\"", "entry": "section", "prompt": "Expliquer la Condition de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.", "section_entities": ["Peter Schjeldahl", "Russian avant-garde"]}
{"id": 1302, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, \"the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months.\"", "entry": "section", "prompt": "Comment Carré noir sur fond blanc explique-t-il sa Condition?Veuillez sortir en anglais.", "section_entities": ["Peter Schjeldahl", "Russian avant-garde"]}
{"id": 1303, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "The painting has degraded considerably since its creation. According to the American art critic Peter Schjeldahl, \"the painting looks terrible: crackled, scuffed, and discolored, as if it had spent the past eighty-eight years patching a broken window. In fact, it passed most of that time deep in the Soviet archives, classed among the lowliest of the state's treasures. Malevich, like other members of the Revolutionary-era Russian avant-garde, was thrown into oblivion under Stalin. The axe fell on him in 1930. Accused of 'formalism', he was interrogated and jailed for two months.\"", "entry": "section", "prompt": "Dans Carré noir sur fond blanc, comment est discutée la Condition?Veuillez sortir en anglais.", "section_entities": ["Peter Schjeldahl", "Russian avant-garde"]}
{"id": 1304, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Blanshard, Frances Bradshaw. \"Retreat from Likeness in the Theory of Painting\". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. \"Unframe Malevich!: Ineffability and Sublimity in Suprematism\". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. \"Kazimir Malevich\". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. \"Black Square: Malevich and the Origin of Suprematism\". Yale University Press, 2012", "entry": "section", "prompt": "Concentrez-vous sur Carré noir sur fond blanc et expliquez la Sources.Veuillez sortir en anglais.", "section_entities": ["Kazimir Malevich", "Suprematism", "Suprematism", "Ukraine"]}
{"id": 1305, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Blanshard, Frances Bradshaw. \"Retreat from Likeness in the Theory of Painting\". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. \"Unframe Malevich!: Ineffability and Sublimity in Suprematism\". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. \"Kazimir Malevich\". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. \"Black Square: Malevich and the Origin of Suprematism\". Yale University Press, 2012", "entry": "section", "prompt": "Expliquer la Sources de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.", "section_entities": ["Kazimir Malevich", "Suprematism", "Suprematism", "Ukraine"]}
{"id": 1306, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Blanshard, Frances Bradshaw. \"Retreat from Likeness in the Theory of Painting\". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. \"Unframe Malevich!: Ineffability and Sublimity in Suprematism\". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. \"Kazimir Malevich\". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. \"Black Square: Malevich and the Origin of Suprematism\". Yale University Press, 2012", "entry": "section", "prompt": "Comment Carré noir sur fond blanc explique-t-il sa Sources?Veuillez sortir en anglais.", "section_entities": ["Kazimir Malevich", "Suprematism", "Suprematism", "Ukraine"]}
{"id": 1307, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Blanshard, Frances Bradshaw. \"Retreat from Likeness in the Theory of Painting\". New York: Columbia University Press, 1949 Drutt, Matthew. Malevich, Black Square, 1915. New York: Guggenheim, 2003.  Jakovljevic, Branislav. \"Unframe Malevich!: Ineffability and Sublimity in Suprematism\". Art Journal, volume 63, no. 3, Autumn 2004.  Kovtun, E. F.; Douglas, Charlotte. \"Kazimir Malevich\". Art Journal, volume 41, no. 3, Autumn, 1981.  Naldi, Johann. Arts incohérents, discoveries and new perspectives. Paris: Lienart, April 2022.   Meinhardt, Johannes.  Pinkham, Sophie. Black Square: Adventures in Post-Soviet Ukraine. Cornerstone Digital, 2016.  Roald, Tone; ng, Johannes. Art and Identity: Essays on the Aesthetic of Creation of the Mind. Rodopi, 2013.  Shatskikh, Aleksandra. \"Black Square: Malevich and the Origin of Suprematism\". Yale University Press, 2012", "entry": "section", "prompt": "Dans Carré noir sur fond blanc, comment est discutée la Sources?Veuillez sortir en anglais.", "section_entities": ["Kazimir Malevich", "Suprematism", "Suprematism", "Ukraine"]}
{"id": 1308, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.", "entry": "subsection", "prompt": "Dans le contexte de Carré noir sur fond blanc, expliquez la Versions et la Interprétation.Veuillez sortir en anglais.", "section_entities": ["Anna Leporskaya"]}
{"id": 1309, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.", "entry": "subsection", "prompt": "Expliquer la Versions concernant la Interprétation de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.", "section_entities": ["Anna Leporskaya"]}
{"id": 1310, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.", "entry": "subsection", "prompt": "Dans Carré noir sur fond blanc, comment la Versions de la Interprétation est-elle expliquée?Veuillez sortir en anglais.", "section_entities": ["Anna Leporskaya"]}
{"id": 1311, "title": "Carré noir sur fond blanc", "en_title": "Black Square", "image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg/270px-Kazimir_Malevich%2C_1915%2C_Black_Suprematic_Square%2C_oil_on_linen_canvas%2C_79.5_x_79.5_cm%2C_Tretyakov_Gallery%2C_Moscow.jpg", "reference": "Malevich produced three oil on canvas copies of the original painting. The first copy was completed in 1923.The second copy was painted around 1923 in collaboration with his students Anna Leporskaya, Konstantin Rozhdestvensky and Nikolay Suyetin. The third Black Square  was painted c. 1929 for Malevich's solo exhibition, perhaps as a stand-in for a solo exhibition as the original was by then in poor condition.The final Black Square is the smallest and may have been intended as a diptych along with the smaller again Red Square for the 1932 exhibition Artists of the RSFSR: 15 Years in Leningrad, where the two squares formed the centerpiece of the show.", "entry": "subsection", "prompt": "Décrivez les caractéristiques de la Versions dans la Interprétation de Carré noir sur fond blanc.Veuillez sortir en anglais.", "section_entities": ["Anna Leporskaya"]}
{"id": 1312, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.", "entry": "section", "prompt": "Concentrez-vous sur amour et expliquez la Abstrait.Veuillez sortir en anglais.", "section_entities": ["Olympic Sculpture Park", "Roy McMakin", "Seattle"]}
{"id": 1313, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.", "entry": "section", "prompt": "Expliquer la Abstrait de cette œuvre d'art, amour.Veuillez sortir en anglais.", "section_entities": ["Olympic Sculpture Park", "Roy McMakin", "Seattle"]}
{"id": 1314, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.", "entry": "section", "prompt": "Comment amour explique-t-il sa Abstrait?Veuillez sortir en anglais.", "section_entities": ["Olympic Sculpture Park", "Roy McMakin", "Seattle"]}
{"id": 1315, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "completion_date =     material =  subject =  height_metric =       width_metric =  length_metric =  diameter_metric =  height_imperial =     width_imperial =  length_imperial =  diameter_imperial =  dimensions =  dimensions_ref =  metric_unit = cm      imperial_unit = in    condition =  city = Seattle, Washington museum = Olympic Sculpture Park  accession =  coordinates =  mapframe           = yes mapframe-zoom      = 13 owner =  preceded_by =         followed_by =         website =            }}Love & Loss is an outdoor 2005 mixed-media installation by Roy McMakin, installed at Olympic Sculpture Park in Seattle, Washington.", "entry": "section", "prompt": "Dans amour, comment est discutée la Abstrait?Veuillez sortir en anglais.", "section_entities": ["Olympic Sculpture Park", "Roy McMakin", "Seattle"]}
{"id": 1316, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, \"The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand.\" The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a \"sculpture slash word puzzle\".", "entry": "section", "prompt": "Concentrez-vous sur amour et expliquez la Description.Veuillez sortir en anglais.", "section_entities": ["Crosscut.com", "Seattle", "Seattle Post-Intelligencer", "The Seattle Times"]}
{"id": 1317, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, \"The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand.\" The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a \"sculpture slash word puzzle\".", "entry": "section", "prompt": "Expliquer la Description de cette œuvre d'art, amour.Veuillez sortir en anglais.", "section_entities": ["Crosscut.com", "Seattle", "Seattle Post-Intelligencer", "The Seattle Times"]}
{"id": 1318, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, \"The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand.\" The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a \"sculpture slash word puzzle\".", "entry": "section", "prompt": "Comment amour explique-t-il sa Description?Veuillez sortir en anglais.", "section_entities": ["Crosscut.com", "Seattle", "Seattle Post-Intelligencer", "The Seattle Times"]}
{"id": 1319, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "The Seattle Times and the Seattle Post-Intelligencer said the work is multifaceted and interactive, respectively. According to The Stranger, \"The piece consists of cast concrete benches, a sidewalk-like pathway, a small, circular reflecting pool, and a double-trunked crabapple tree that spell out the words 'love' and 'loss.' Jutting up from the middle is a red neon ampersand.\" The ampersand revolves.Brangien Davis of Crosscut.com described the artwork as a \"sculpture slash word puzzle\".", "entry": "section", "prompt": "Dans amour, comment est discutée la Description?Veuillez sortir en anglais.", "section_entities": ["Crosscut.com", "Seattle", "Seattle Post-Intelligencer", "The Seattle Times"]}
{"id": 1320, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "Arts Observer called the work \"clever\".", "entry": "section", "prompt": "Concentrez-vous sur amour et expliquez la Réception.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1321, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "Arts Observer called the work \"clever\".", "entry": "section", "prompt": "Expliquer la Réception de cette œuvre d'art, amour.Veuillez sortir en anglais.", "section_entities": []}
{"id": 1322, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "Arts Observer called the work \"clever\".", "entry": "section", "prompt": "Comment amour explique-t-il sa Réception?Veuillez sortir en anglais.", "section_entities": []}
{"id": 1323, "title": "amour", "en_title": "Love & Loss", "image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "en_image_url": "https://upload.wikimedia.org/wikipedia/en/thumb/8/87/Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg/270px-Love_%26_Loss_by_Roy_McMakin%2C_Seattle.jpg", "reference": "Arts Observer called the work \"clever\".", "entry": "section", "prompt": "Dans amour, comment est discutée la Réception?Veuillez sortir en anglais.", "section_entities": []}