section

Auguste de Prima Porta

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.

Prompt: Expliquer la Découverte de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.

Augustus
Livia
Prima Porta
Villa of Livia
Wilhelm Henzen


section

Auguste de Prima Porta

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.

Prompt: Comment Auguste de Prima Porta explique-t-il sa Découverte?Veuillez sortir en anglais.

Augustus
Livia
Prima Porta
Villa of Livia
Wilhelm Henzen


section

Auguste de Prima Porta

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.

Prompt: Dans Auguste de Prima Porta, comment est discutée la Découverte?Veuillez sortir en anglais.

Augustus
Livia
Prima Porta
Villa of Livia
Wilhelm Henzen


section

Auguste de Prima Porta

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.

Prompt: Concentrez-vous sur Auguste de Prima Porta et expliquez la Lectures supplémentaires.Veuillez sortir en anglais.


section

Auguste de Prima Porta

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.

Prompt: Expliquer la Lectures supplémentaires de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.


section

Auguste de Prima Porta

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.

Prompt: Comment Auguste de Prima Porta explique-t-il sa Lectures supplémentaires?Veuillez sortir en anglais.


section

Auguste de Prima Porta

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.

Prompt: Dans Auguste de Prima Porta, comment est discutée la Lectures supplémentaires?Veuillez sortir en anglais.


subsection

Auguste de Prima Porta

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.

Prompt: Dans le contexte de Auguste de Prima Porta, expliquez la Portrait et la Polychromie.Veuillez sortir en anglais.

Ara Pacis
Augustus
Museo Nazionale Romano
Parian marble
Polykleitos
Prima Porta


subsection

Auguste de Prima Porta

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.

Prompt: Expliquer la Portrait concernant la Polychromie de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.

Ara Pacis
Augustus
Museo Nazionale Romano
Parian marble
Polykleitos
Prima Porta


subsection

Auguste de Prima Porta

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.

Prompt: Dans Auguste de Prima Porta, comment la Portrait de la Polychromie est-elle expliquée?Veuillez sortir en anglais.

Ara Pacis
Augustus
Museo Nazionale Romano
Parian marble
Polykleitos
Prima Porta


subsection

Auguste de Prima Porta

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.

Prompt: Décrivez les caractéristiques de la Portrait dans la Polychromie de Auguste de Prima Porta.Veuillez sortir en anglais.

Ara Pacis
Augustus
Museo Nazionale Romano
Parian marble
Polykleitos
Prima Porta


subsection

Auguste de Prima Porta

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 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.

Prompt: Dans le contexte de Auguste de Prima Porta, expliquez la plastron soulagement et la Polychromie.Veuillez sortir en anglais.

Ara Pacis
Augustus
Cleopatra
Horace
Mark Antony
Parthia
Pax Romana
Romulus and Remus


subsection

Auguste de Prima Porta

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 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.

Prompt: Expliquer la plastron soulagement concernant la Polychromie de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.

Ara Pacis
Augustus
Cleopatra
Horace
Mark Antony
Parthia
Pax Romana
Romulus and Remus


subsection

Auguste de Prima Porta

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 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.

Prompt: Dans Auguste de Prima Porta, comment la plastron soulagement de la Polychromie est-elle expliquée?Veuillez sortir en anglais.

Ara Pacis
Augustus
Cleopatra
Horace
Mark Antony
Parthia
Pax Romana
Romulus and Remus


subsection

Auguste de Prima Porta

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 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.

Prompt: Décrivez les caractéristiques de la plastron soulagement dans la Polychromie de Auguste de Prima Porta.Veuillez sortir en anglais.

Ara Pacis
Augustus
Cleopatra
Horace
Mark Antony
Parthia
Pax Romana
Romulus and Remus


subsection

Auguste de Prima Porta

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.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.

Prompt: Dans le contexte de Auguste de Prima Porta, expliquez la Statut divin et la Polychromie.Veuillez sortir en anglais.

Augustus
Cupid
Julius Caesar
Livia
Mark Antony


subsection

Auguste de Prima Porta

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.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.

Prompt: Expliquer la Statut divin concernant la Polychromie de cette œuvre d'art, Auguste de Prima Porta.Veuillez sortir en anglais.

Augustus
Cupid
Julius Caesar
Livia
Mark Antony


subsection

Auguste de Prima Porta

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.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.

Prompt: Dans Auguste de Prima Porta, comment la Statut divin de la Polychromie est-elle expliquée?Veuillez sortir en anglais.

Augustus
Cupid
Julius Caesar
Livia
Mark Antony


subsection

Auguste de Prima Porta

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.  It suggests that Augustus has won the battle of Actium and defeated one of his primary rivals, Mark Antony.

Prompt: Décrivez les caractéristiques de la Statut divin dans la Polychromie de Auguste de Prima Porta.Veuillez sortir en anglais.

Augustus
Cupid
Julius Caesar
Livia
Mark Antony


section

La Musique aux Tuileries

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.

Prompt: Concentrez-vous sur La Musique aux Tuileries et expliquez la Abstrait.Veuillez sortir en anglais.

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


section

La Musique aux Tuileries

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.

Prompt: Expliquer la Abstrait de cette œuvre d'art, La Musique aux Tuileries.Veuillez sortir en anglais.

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


section

La Musique aux Tuileries

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.

Prompt: Comment La Musique aux Tuileries explique-t-il sa Abstrait?Veuillez sortir en anglais.

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


section

La Musique aux Tuileries

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.

Prompt: Dans La Musique aux Tuileries, comment est discutée la Abstrait?Veuillez sortir en anglais.

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


section

La Musique aux Tuileries

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.

Prompt: Concentrez-vous sur La Musique aux Tuileries et expliquez la Matériaux de peinture.Veuillez sortir en anglais.


section

La Musique aux Tuileries

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.

Prompt: Expliquer la Matériaux de peinture de cette œuvre d'art, La Musique aux Tuileries.Veuillez sortir en anglais.


section

La Musique aux Tuileries

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.

Prompt: Comment La Musique aux Tuileries explique-t-il sa Matériaux de peinture?Veuillez sortir en anglais.


section

La Musique aux Tuileries

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.

Prompt: Dans La Musique aux Tuileries, comment est discutée la Matériaux de peinture?Veuillez sortir en anglais.


section

La Musique aux Tuileries

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.

Prompt: Concentrez-vous sur La Musique aux Tuileries et expliquez la Réception.Veuillez sortir en anglais.


section

La Musique aux Tuileries

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.

Prompt: Expliquer la Réception de cette œuvre d'art, La Musique aux Tuileries.Veuillez sortir en anglais.


section

La Musique aux Tuileries

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.

Prompt: Comment La Musique aux Tuileries explique-t-il sa Réception?Veuillez sortir en anglais.


section

La Musique aux Tuileries

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.

Prompt: Dans La Musique aux Tuileries, comment est discutée la Réception?Veuillez sortir en anglais.


section

La Musique aux Tuileries

List of paintings by Édouard Manet 1862 in art

Prompt: Concentrez-vous sur La Musique aux Tuileries et expliquez la Voir aussi.Veuillez sortir en anglais.

1862 in art
List of paintings by Édouard Manet
Édouard Manet


section

La Musique aux Tuileries

List of paintings by Édouard Manet 1862 in art

Prompt: Expliquer la Voir aussi de cette œuvre d'art, La Musique aux Tuileries.Veuillez sortir en anglais.

1862 in art
List of paintings by Édouard Manet
Édouard Manet


section

La Musique aux Tuileries

List of paintings by Édouard Manet 1862 in art

Prompt: Comment La Musique aux Tuileries explique-t-il sa Voir aussi?Veuillez sortir en anglais.

1862 in art
List of paintings by Édouard Manet
Édouard Manet


section

La Musique aux Tuileries

List of paintings by Édouard Manet 1862 in art

Prompt: Dans La Musique aux Tuileries, comment est discutée la Voir aussi?Veuillez sortir en anglais.

1862 in art
List of paintings by Édouard Manet
Édouard Manet


section

Jet d'eau du roi Fahd

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.

Prompt: Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Abstrait.Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Expliquer la Abstrait de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Comment Jet d'eau du roi Fahd explique-t-il sa Abstrait?Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Dans Jet d'eau du roi Fahd, comment est discutée la Abstrait?Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Aperçu.Veuillez sortir en anglais.

Fountain
Guinness World Records
Jeddah
Red Sea
Saudi Arabia
Seoul
South Korea
World Cup Fountain


section

Jet d'eau du roi Fahd

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.

Prompt: Expliquer la Aperçu de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.

Fountain
Guinness World Records
Jeddah
Red Sea
Saudi Arabia
Seoul
South Korea
World Cup Fountain


section

Jet d'eau du roi Fahd

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.

Prompt: Comment Jet d'eau du roi Fahd explique-t-il sa Aperçu?Veuillez sortir en anglais.

Fountain
Guinness World Records
Jeddah
Red Sea
Saudi Arabia
Seoul
South Korea
World Cup Fountain


section

Jet d'eau du roi Fahd

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.

Prompt: Dans Jet d'eau du roi Fahd, comment est discutée la Aperçu?Veuillez sortir en anglais.

Fountain
Guinness World Records
Jeddah
Red Sea
Saudi Arabia
Seoul
South Korea
World Cup Fountain


section

Jet d'eau du roi Fahd

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.

Prompt: Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Histoire.Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Expliquer la Histoire de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Comment Jet d'eau du roi Fahd explique-t-il sa Histoire?Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Dans Jet d'eau du roi Fahd, comment est discutée la Histoire?Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Conception.Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Expliquer la Conception de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Comment Jet d'eau du roi Fahd explique-t-il sa Conception?Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

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.

Prompt: Dans Jet d'eau du roi Fahd, comment est discutée la Conception?Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

Prompt: Concentrez-vous sur Jet d'eau du roi Fahd et expliquez la Voir aussi.Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

Prompt: Expliquer la Voir aussi de cette œuvre d'art, Jet d'eau du roi Fahd.Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

Prompt: Comment Jet d'eau du roi Fahd explique-t-il sa Voir aussi?Veuillez sortir en anglais.


section

Jet d'eau du roi Fahd

Prompt: Dans Jet d'eau du roi Fahd, comment est discutée la Voir aussi?Veuillez sortir en anglais.


section

La Femme à la balance

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.

Prompt: Concentrez-vous sur La Femme à la balance et expliquez la Abstrait.Veuillez sortir en anglais.

Johannes Vermeer
National Gallery of Art


section

La Femme à la balance

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.

Prompt: Expliquer la Abstrait de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.

Johannes Vermeer
National Gallery of Art


section

La Femme à la balance

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.

Prompt: Comment La Femme à la balance explique-t-il sa Abstrait?Veuillez sortir en anglais.

Johannes Vermeer
National Gallery of Art


section

La Femme à la balance

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.

Prompt: Dans La Femme à la balance, comment est discutée la Abstrait?Veuillez sortir en anglais.

Johannes Vermeer
National Gallery of Art


section

La Femme à la balance

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."

Prompt: Concentrez-vous sur La Femme à la balance et expliquez la Thème.Veuillez sortir en anglais.


section

La Femme à la balance

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."

Prompt: Expliquer la Thème de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.


section

La Femme à la balance

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."

Prompt: Comment La Femme à la balance explique-t-il sa Thème?Veuillez sortir en anglais.


section

La Femme à la balance

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."

Prompt: Dans La Femme à la balance, comment est discutée la Thème?Veuillez sortir en anglais.


section

La Femme à la balance

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 .

Prompt: Concentrez-vous sur La Femme à la balance et expliquez la Histoire.Veuillez sortir en anglais.


section

La Femme à la balance

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 .

Prompt: Expliquer la Histoire de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.


section

La Femme à la balance

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 .

Prompt: Comment La Femme à la balance explique-t-il sa Histoire?Veuillez sortir en anglais.


section

La Femme à la balance

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 .

Prompt: Dans La Femme à la balance, comment est discutée la Histoire?Veuillez sortir en anglais.


section

La Femme à la balance

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.

Prompt: Concentrez-vous sur La Femme à la balance et expliquez la Matériaux de peinture.Veuillez sortir en anglais.


section

La Femme à la balance

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.

Prompt: Expliquer la Matériaux de peinture de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.


section

La Femme à la balance

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.

Prompt: Comment La Femme à la balance explique-t-il sa Matériaux de peinture?Veuillez sortir en anglais.


section

La Femme à la balance

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.

Prompt: Dans La Femme à la balance, comment est discutée la Matériaux de peinture?Veuillez sortir en anglais.


section

La Femme à la balance

Prompt: Concentrez-vous sur La Femme à la balance et expliquez la Voir aussi.Veuillez sortir en anglais.

Johannes Vermeer
List of paintings by Johannes Vermeer


section

La Femme à la balance

Prompt: Expliquer la Voir aussi de cette œuvre d'art, La Femme à la balance.Veuillez sortir en anglais.

Johannes Vermeer
List of paintings by Johannes Vermeer


section

La Femme à la balance

Prompt: Comment La Femme à la balance explique-t-il sa Voir aussi?Veuillez sortir en anglais.

Johannes Vermeer
List of paintings by Johannes Vermeer


section

La Femme à la balance

Prompt: Dans La Femme à la balance, comment est discutée la Voir aussi?Veuillez sortir en anglais.

Johannes Vermeer
List of paintings by Johannes Vermeer


section

monument à Wikipédia

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.

Prompt: Concentrez-vous sur monument à Wikipédia et expliquez la Abstrait.Veuillez sortir en anglais.

Mihran Hakobyan
Poland
Słubice
Wikimedia Foundation
Wikipedia


section

monument à Wikipédia

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.

Prompt: Expliquer la Abstrait de cette œuvre d'art, monument à Wikipédia.Veuillez sortir en anglais.

Mihran Hakobyan
Poland
Słubice
Wikimedia Foundation
Wikipedia


section

monument à Wikipédia

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.

Prompt: Comment monument à Wikipédia explique-t-il sa Abstrait?Veuillez sortir en anglais.

Mihran Hakobyan
Poland
Słubice
Wikimedia Foundation
Wikipedia


section

monument à Wikipédia

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.

Prompt: Dans monument à Wikipédia, comment est discutée la Abstrait?Veuillez sortir en anglais.

Mihran Hakobyan
Poland
Słubice
Wikimedia Foundation
Wikipedia


section

monument à Wikipédia

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>

Prompt: Concentrez-vous sur monument à Wikipédia et expliquez la Description.Veuillez sortir en anglais.


section

monument à Wikipédia

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>

Prompt: Expliquer la Description de cette œuvre d'art, monument à Wikipédia.Veuillez sortir en anglais.


section

monument à Wikipédia

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>

Prompt: Comment monument à Wikipédia explique-t-il sa Description?Veuillez sortir en anglais.


section

monument à Wikipédia

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>

Prompt: Dans monument à Wikipédia, comment est discutée la Description?Veuillez sortir en anglais.


section

monument à Wikipédia

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}}

Prompt: Concentrez-vous sur monument à Wikipédia et expliquez la Histoire.Veuillez sortir en anglais.

Common Knowledge?
Dariusz Jemielniak
Poland
Polish Wikipedia
Słubice
Wiki Loves Monuments
Wikipedia


section

monument à Wikipédia

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}}

Prompt: Expliquer la Histoire de cette œuvre d'art, monument à Wikipédia.Veuillez sortir en anglais.

Common Knowledge?
Dariusz Jemielniak
Poland
Polish Wikipedia
Słubice
Wiki Loves Monuments
Wikipedia


section

monument à Wikipédia

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}}

Prompt: Comment monument à Wikipédia explique-t-il sa Histoire?Veuillez sortir en anglais.

Common Knowledge?
Dariusz Jemielniak
Poland
Polish Wikipedia
Słubice
Wiki Loves Monuments
Wikipedia


section

monument à Wikipédia

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}}

Prompt: Dans monument à Wikipédia, comment est discutée la Histoire?Veuillez sortir en anglais.

Common Knowledge?
Dariusz Jemielniak
Poland
Polish Wikipedia
Słubice
Wiki Loves Monuments
Wikipedia


section

Carré noir sur fond blanc

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.

Prompt: Concentrez-vous sur Carré noir sur fond blanc et expliquez la Abstrait.Veuillez sortir en anglais.

Black Circle
Kazimir Malevich
Russian avant-garde
Ukraine
White on White


section

Carré noir sur fond blanc

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.

Prompt: Expliquer la Abstrait de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.

Black Circle
Kazimir Malevich
Russian avant-garde
Ukraine
White on White


section

Carré noir sur fond blanc

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.

Prompt: Comment Carré noir sur fond blanc explique-t-il sa Abstrait?Veuillez sortir en anglais.

Black Circle
Kazimir Malevich
Russian avant-garde
Ukraine
White on White


section

Carré noir sur fond blanc

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.

Prompt: Dans Carré noir sur fond blanc, comment est discutée la Abstrait?Veuillez sortir en anglais.

Black Circle
Kazimir Malevich
Russian avant-garde
Ukraine
White on White


section

Carré noir sur fond blanc

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."

Prompt: Concentrez-vous sur Carré noir sur fond blanc et expliquez la Conception.Veuillez sortir en anglais.

Frances Spalding
Impressionism
Kazimir Malevich
Kyiv
Mikhail Matyushin
Moscow
Saint Petersburg
Tsar
Victory over the Sun


section

Carré noir sur fond blanc

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."

Prompt: Expliquer la Conception de cette œuvre d'art, Carré noir sur fond blanc.Veuillez sortir en anglais.

Frances Spalding
Impressionism
Kazimir Malevich
Kyiv
Mikhail Matyushin
Moscow
Saint Petersburg
Tsar
Victory over the Sun