Lady with an Ermine

Prompt: Explain the History about the Background of this artwork, Lady with an Ermine.

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the Lady with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, LA BELE FERONIERE. LEONARD DAWINCI., was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel Lambert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw (1952), Moscow (1972), Washington, D.C. (1991/92), Malmö (1993/94), Rome/Milan (1998), Florence (1999).The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

Category:Art and cultural repatriation after World War II

''The Ermine Hunt'' (c. 1490), a pen and ink drawing by Leonardo da Vinci

Category:Looting of Poland in World War II

Leonardo da Vinci: The Mind of the Renaissance

Category:Collection of the Czartoryski Museum

Leonardo da Vinci#First Milanese period (c. 1482–1499)

"Monuments Men" – Frank P. Albright, Everett Parker Lesley, Joe D. Espinosa – and Polish liaison officer [[Karol Estreicher (junior)


Lady with an Ermine

Prompt: In Lady with an Ermine, how is the History of the Background explained?

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the Lady with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, LA BELE FERONIERE. LEONARD DAWINCI., was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel Lambert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw (1952), Moscow (1972), Washington, D.C. (1991/92), Malmö (1993/94), Rome/Milan (1998), Florence (1999).The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

Category:Art and cultural repatriation after World War II

''The Ermine Hunt'' (c. 1490), a pen and ink drawing by Leonardo da Vinci

Category:Looting of Poland in World War II

Leonardo da Vinci: The Mind of the Renaissance

Category:Collection of the Czartoryski Museum

Leonardo da Vinci#First Milanese period (c. 1482–1499)

"Monuments Men" – Frank P. Albright, Everett Parker Lesley, Joe D. Espinosa – and Polish liaison officer [[Karol Estreicher (junior)


Lady with an Ermine

Prompt: Describe the characteristics of the History in Lady with an Ermine's Background.

It has always been known that Leonardo painted a portrait of Ludovico Sforza's mistress, Cecilia Gallerani, but the Lady with an Ermine remained largely unknown to scholars until nearly the 20th century. The painting was acquired in Italy in 1798 by Prince Adam George Czartoryski, the son of Izabela Czartoryska Flemming and Prince Adam Kazimierz Czartoryski, and incorporated into the Czartoryski family collections at Puławy in 1800. The inscription on the top-left corner of the painting, LA BELE FERONIERE. LEONARD DAWINCI., was probably added by a restorer shortly after its arrival in Poland, and before the background was overpainted. Czartoryski was clearly aware it was a Leonardo, although the painting had never been discussed in print; no record exists of any previous owner. The Belle Ferronière is the Leonardo portrait in the Louvre, whose sitter bears such a close resemblance; the Czartoryskis considered this sitter to be the same.The painting travelled widely during the 19th century. During the November Uprising in 1830, the 84-year-old Princess Czartoryska rescued it in advance of the invading Russian army, hid it, and sent it 150 km south to the Czartoryski palace at Sieniawa. Soon after, it was transferred to the Czartoryski place of exile in Paris, the Hôtel Lambert. The family returned to Poland in 1869, settling in Kraków. In the tumultuous aftermath of the German occupation of Paris in 1871 and the Commune, the family brought the painting to Kraków in 1876 and the museum opened in 1878. During World War I, the painting was moved to the Gemäldegalerie Alte Meister in Dresden for safe-keeping, returning to Kraków in 1920.In 1939, anticipating the German occupation of Poland, it was again moved to Sieniawa, but it was discovered and seized by the Nazis and sent to the Kaiser Friedrich Museum in Berlin. In 1940, Hans Frank, the Governor General of Poland, saw the painting there and requested it be returned to Kraków, where it hung in his suite of offices in the Wawel Castle. In 1941, it was transferred to a warehouse of other plundered art in Breslau. In 1943 it was brought back to Kraków and exhibited at the Wawel Castle. At the end of the Second World War it was discovered by Allied troops in Frank's country home in Schliersee, Bavaria, and was returned to Poland in 1946. It was again placed on exhibit at the Czartoryski Museum in Kraków. Throughout the mid–late 20th century the work traveled the world more extensively than any other Leonardo painting, being exhibited in Warsaw (1952), Moscow (1972), Washington, D.C. (1991/92), Malmö (1993/94), Rome/Milan (1998), Florence (1999).The work remained displayed at the Czartoryski Museum until it closed for renovations in 2010. From May 2017 to 2019, it was exhibited in the National Museum, Kraków, just outside the Old Town. It returned to the Czartoryski Museum for the museum's reopening on December 19, 2019.

Category:Art and cultural repatriation after World War II

''The Ermine Hunt'' (c. 1490), a pen and ink drawing by Leonardo da Vinci

Category:Looting of Poland in World War II

Leonardo da Vinci: The Mind of the Renaissance

Category:Collection of the Czartoryski Museum

Leonardo da Vinci#First Milanese period (c. 1482–1499)

"Monuments Men" – Frank P. Albright, Everett Parker Lesley, Joe D. Espinosa – and Polish liaison officer [[Karol Estreicher (junior)


The Burghers of Calais

Prompt: Focus on The Burghers of Calais and explain the abstract.

The Burghers of Calais (French: Les Bourgeois de Calais) is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: Explain the abstract of this artwork, The Burghers of Calais.

The Burghers of Calais (French: Les Bourgeois de Calais) is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: How does The Burghers of Calais explain its abstract?

The Burghers of Calais (French: Les Bourgeois de Calais) is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: In The Burghers of Calais, how is the abstract discussed?

The Burghers of Calais (French: Les Bourgeois de Calais) is a sculpture by Auguste Rodin in twelve original castings and numerous copies. It commemorates an event during the Hundred Years' War, when Calais, a French port on the English Channel, surrendered to the English after an eleven-month siege. The city commissioned Rodin to create the sculpture in 1884 and the work was completed in 1889.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: Focus on The Burghers of Calais and explain the History.

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart (c. 1337 – c. 1405) tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: Explain the History of this artwork, The Burghers of Calais.

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart (c. 1337 – c. 1405) tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: How does The Burghers of Calais explain its History?

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart (c. 1337 – c. 1405) tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: In The Burghers of Calais, how is the History discussed?

In 1346, England's Edward III, after victory in the Battle of Crécy, laid siege to Calais, while Philip VI of France ordered the city to hold out at all costs. Philip failed to lift the siege, and starvation eventually forced the city to parley for surrender.The contemporary chronicler Jean Froissart (c. 1337 – c. 1405) tells a story of what happened next: Edward offered to spare the people of the city if six of its leaders would surrender themselves to him, presumably to be executed.  Edward demanded they walk out wearing nooses around their necks, and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first, and five other burghers joined with him. Saint Pierre led this envoy of volunteers to the city gates.  It was this moment, and this poignant mix of defeat, heroic self-sacrifice, and willingness to face imminent death which Rodin captured in his sculpture, scaled somewhat larger than life.According to Froissart's story, the burghers expected to be executed, but their lives were spared by the intervention of England's queen, Philippa of Hainault, who persuaded her husband to exercise mercy by claiming their deaths would be a bad omen for her unborn child.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: Focus on The Burghers of Calais and explain the Composition.

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture. It was not a pyramidal arrangement and contained no allegorical figures.  It was intended to be placed at ground level, rather than on a pedestal.  The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism".  To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: Explain the Composition of this artwork, The Burghers of Calais.

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture. It was not a pyramidal arrangement and contained no allegorical figures.  It was intended to be placed at ground level, rather than on a pedestal.  The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism".  To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: How does The Burghers of Calais explain its Composition?

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture. It was not a pyramidal arrangement and contained no allegorical figures.  It was intended to be placed at ground level, rather than on a pedestal.  The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism".  To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: In The Burghers of Calais, how is the Composition discussed?

The City of Calais had attempted to erect a statue of Eustache de Saint Pierre, eldest of the burghers, since 1845.  Two prior artists were prevented from creating the sculpture: David d'Angers by his death, and Auguste Clésinger by the Franco-Prussian War. In 1884 the municipal corporation of the city invited several artists, Rodin amongst them, to submit proposals for the project.Rodin's design, which included all six figures rather than just de Saint Pierre, was controversial. The public felt that it lacked "overtly heroic antique references" which were considered integral to public sculpture. It was not a pyramidal arrangement and contained no allegorical figures.  It was intended to be placed at ground level, rather than on a pedestal.  The burghers were not presented in a positive image of glory; instead, they display "pain, anguish and fatalism".  To Rodin, this was nevertheless heroic, the heroism of self-sacrifice.In 1895 the monument was installed in Calais on a large pedestal in front of Parc Richelieu, a public park, contrary to the sculptor's wishes, who wanted contemporary townsfolk to "almost bump into" the figures and feel solidarity with them.  Only later was his vision realised, when the sculpture was moved in front of the newly completed town hall of Calais, where it now rests on a much lower base.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: Focus on The Burghers of Calais and explain the Depicted persons.

The six burghers depicted are:Eustache de Saint PierreJacques de WissantPierre de WissantJean de FiennesAndrieu d'AndresJean d'Aire

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: Explain the Depicted persons of this artwork, The Burghers of Calais.

The six burghers depicted are:Eustache de Saint PierreJacques de WissantPierre de WissantJean de FiennesAndrieu d'AndresJean d'Aire

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: How does The Burghers of Calais explain its Depicted persons?

The six burghers depicted are:Eustache de Saint PierreJacques de WissantPierre de WissantJean de FiennesAndrieu d'AndresJean d'Aire

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: In The Burghers of Calais, how is the Depicted persons discussed?

The six burghers depicted are:Eustache de Saint PierreJacques de WissantPierre de WissantJean de FiennesAndrieu d'AndresJean d'Aire

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: Focus on The Burghers of Calais and explain the Casts.

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at:Glyptoteket in Copenhagen, cast 1903;the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 (currently on loan to the city of Mons);Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915;the Rodin Museum in Philadelphia, cast 1925 and installed in 1929;the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955;Kunstmuseum in Basel, cast 1943 and installed in 1948;the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966;the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959;the Norton Simon Museum in Pasadena, California, cast 1968;the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989;andPlateau (formerly called Rodin Gallery and closed since 2016) in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are:sculptures of all individual figures on the campus of Stanford University;sculptures of all individual figures (casts from 1984 till 1988) and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan;sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden;a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;"The man with the key" figure (Jean d'Aire), on the Sommerro Park in Oslo, Norway; anda bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: Explain the Casts of this artwork, The Burghers of Calais.

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at:Glyptoteket in Copenhagen, cast 1903;the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 (currently on loan to the city of Mons);Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915;the Rodin Museum in Philadelphia, cast 1925 and installed in 1929;the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955;Kunstmuseum in Basel, cast 1943 and installed in 1948;the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966;the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959;the Norton Simon Museum in Pasadena, California, cast 1968;the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989;andPlateau (formerly called Rodin Gallery and closed since 2016) in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are:sculptures of all individual figures on the campus of Stanford University;sculptures of all individual figures (casts from 1984 till 1988) and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan;sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden;a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;"The man with the key" figure (Jean d'Aire), on the Sommerro Park in Oslo, Norway; anda bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: How does The Burghers of Calais explain its Casts?

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at:Glyptoteket in Copenhagen, cast 1903;the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 (currently on loan to the city of Mons);Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915;the Rodin Museum in Philadelphia, cast 1925 and installed in 1929;the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955;Kunstmuseum in Basel, cast 1943 and installed in 1948;the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966;the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959;the Norton Simon Museum in Pasadena, California, cast 1968;the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989;andPlateau (formerly called Rodin Gallery and closed since 2016) in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are:sculptures of all individual figures on the campus of Stanford University;sculptures of all individual figures (casts from 1984 till 1988) and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan;sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden;a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;"The man with the key" figure (Jean d'Aire), on the Sommerro Park in Oslo, Norway; anda bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


The Burghers of Calais

Prompt: In The Burghers of Calais, how is the Casts discussed?

Under French law no more than twelve original casts of works of Rodin may be made.The 1895 cast of the group of six figures still stands in Calais.  Other original casts stand at:Glyptoteket in Copenhagen, cast 1903;the Musée royal de Mariemont in Morlanwelz, Belgium, cast 1905 (currently on loan to the city of Mons);Victoria Tower Gardens adjacent to the Houses of Parliament in London; cast 1908, installed on this site in 1914 and unveiled 19 July 1915;the Rodin Museum in Philadelphia, cast 1925 and installed in 1929;the gardens of the Musée Rodin in Paris, cast 1926 and given to the museum in 1955;Kunstmuseum in Basel, cast 1943 and installed in 1948;the Smithsonian Hirshhorn Museum and Sculpture Garden in Washington, DC, cast 1943 and installed in 1966;the National Museum of Western Art in Tokyo, cast 1953 and installed in 1959;the Norton Simon Museum in Pasadena, California, cast 1968;the Metropolitan Museum of Art in New York City, cast 1985 and installed in 1989;andPlateau (formerly called Rodin Gallery and closed since 2016) in Seoul. This is the twelfth and final original cast and was cast in 1995.Copies of individual statues are:sculptures of all individual figures on the campus of Stanford University;sculptures of all individual figures (casts from 1984 till 1988) and the First Maquette of the Burghers of Calais, cast 1987, in the Shizuoka Prefectural Museum of Art, Shizuoka City, Japan;sculptures of Jean d'Aire and Jean de Fiennes as well as busts of d'Aire and Pierre de Wissant on display at the Los Angeles County Museum of Art in the Sculpture Garden;a study of Jean d'Aire at Visual Arts Center at Davidson College, cast in 1972;"The man with the key" figure (Jean d'Aire), on the Sommerro Park in Oslo, Norway; anda bust of Jean d'Aire, recovered a quarter mile away from Ground Zero, together with other pieces from works by Rodin which were in the corporate offices of Cantor Fitzgerald at the original One World Trade Center.

File:The Burghers of Calais - Hirshhorn Sculpture Garden.JPG

Cast in the Hirshhorn Sculpture Garden, Washington, D.C.

''The Burghers'' at the [[Metropolitan Museum of Art

Category:Bronze sculptures in the United States

Category:Bronze sculptures in the City of Westminster

''Chronicles of England France, Spain, and the adjoining countries''

Category:Sculptures in the Norton Simon Museum

''The Burghers of Calais'', Rodin Wing, Shizuoka Prefectural Museum of Art

Category:Monuments and memorials in the Pas-de-Calais

Category:Buildings and structures in Victoria Tower Gardens

Category:Grade I listed buildings in the City of Westminster

File:The Burghers of Calais MET DP221863.jpg

Category:Buildings and structures on the River Thames


At Eternity's Gate

Prompt: Focus on At Eternity's Gate and explain the abstract.

Sorrowing Old Man (At Eternity's Gate) is an oil painting by Vincent van Gogh that he made in 1890 in Saint-Rémy de Provence based on an early lithograph. The painting was completed in early May at a time when he was convalescing from a severe relapse in his health some two months before his death, which is generally accepted as a suicide.In the 1970 catalogue raisonné, it was given the title Worn Out: At Eternity's Gate.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: Explain the abstract of this artwork, At Eternity's Gate.

Sorrowing Old Man (At Eternity's Gate) is an oil painting by Vincent van Gogh that he made in 1890 in Saint-Rémy de Provence based on an early lithograph. The painting was completed in early May at a time when he was convalescing from a severe relapse in his health some two months before his death, which is generally accepted as a suicide.In the 1970 catalogue raisonné, it was given the title Worn Out: At Eternity's Gate.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: How does At Eternity's Gate explain its abstract?

Sorrowing Old Man (At Eternity's Gate) is an oil painting by Vincent van Gogh that he made in 1890 in Saint-Rémy de Provence based on an early lithograph. The painting was completed in early May at a time when he was convalescing from a severe relapse in his health some two months before his death, which is generally accepted as a suicide.In the 1970 catalogue raisonné, it was given the title Worn Out: At Eternity's Gate.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: In At Eternity's Gate, how is the abstract discussed?

Sorrowing Old Man (At Eternity's Gate) is an oil painting by Vincent van Gogh that he made in 1890 in Saint-Rémy de Provence based on an early lithograph. The painting was completed in early May at a time when he was convalescing from a severe relapse in his health some two months before his death, which is generally accepted as a suicide.In the 1970 catalogue raisonné, it was given the title Worn Out: At Eternity's Gate.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: Focus on At Eternity's Gate and explain the Lithograph.

The lithograph was based on a pencil drawing Worn Out, one of a series of studies he made in 1882 of a pensioner and war veteran, Adrianus Jacobus Zuyderland, at a local almshouse in The Hague and itself a reworking of a drawing and watercolour he had made the previous year. The inspiration for Worn Out was  Hubert von Herkomer's Sunday at the Chelsea Hospital, an immensely popular print depicting an old war veteran slumped dead that went on to become an acclaimed painting at the Royal Academy, The Last Muster, that Van Gogh had seen in 1875 when in England. Van Gogh wrote of his drawing:Today and yesterday I drew two figures of an old man with his elbows on his knees and his head in his hands. I did it of Schuitemaker once and always kept the drawing, because I wanted to do it better another time. Perhaps I'll also do a lithograph of it. What a fine sight an old working man makes, in his patched bombazine suit with his bald head.Van Gogh's first attempt at the lithograph followed just two days later. He wrote: It seems to me that a painter has a duty to try to put an idea into his work. I was trying to say this in this print—but I can't say it as beautifully, as strikingly as reality, of which this is only a dim reflection seen in a dark mirror—that it seems to me that one of the strongest pieces of evidence for the existence of 'something on high' in which Millet believed, namely in the existence of a God and an eternity, is the unutterably moving quality that there can be in the expression of an old man like that, without his being aware of it perhaps, as he sits so quietly in the corner of his hearth. At the same time something precious, something noble, that can't be meant for the worms. ... This is far from all theology—simply the fact that the poorest woodcutter, heath farmer or miner can have moments of emotion and mood that give him a sense of an eternal home that he is close to.Later, in a rare expression of his own religious feelings, he wrote expressly about this lithograph and two other drawings also posed by Zuyderland, of an old man reading a Bible and saying grace (below) respectively:My intention with these two and with the first old man is one and the same, namely to express the special mood of Christmas and New Year. ... Leaving aside whether or not one agrees with the form, it's something one respects if it's sincere, and for my part I can fully share in it and even feel a need for it, at least in the sense that, just as much as an old man of that kind, I have a feeling of belief in something on high even if I don't know exactly who or what will be there.Seven impressions of the lithograph are known, of which one is annotated At Eternity's Gate. The same theme is taken up again in two later 1883 studies of a seated woman.In 2021, a drawing in a private collection in the Netherlands since 1910 was authenticated as a preliminary study for the original pencil drawing Worn Out by the Van Gogh Museum and put on display. The Van Gogh Museum had previously been aware of the existence of the study for some time.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: Explain the Lithograph of this artwork, At Eternity's Gate.

The lithograph was based on a pencil drawing Worn Out, one of a series of studies he made in 1882 of a pensioner and war veteran, Adrianus Jacobus Zuyderland, at a local almshouse in The Hague and itself a reworking of a drawing and watercolour he had made the previous year. The inspiration for Worn Out was  Hubert von Herkomer's Sunday at the Chelsea Hospital, an immensely popular print depicting an old war veteran slumped dead that went on to become an acclaimed painting at the Royal Academy, The Last Muster, that Van Gogh had seen in 1875 when in England. Van Gogh wrote of his drawing:Today and yesterday I drew two figures of an old man with his elbows on his knees and his head in his hands. I did it of Schuitemaker once and always kept the drawing, because I wanted to do it better another time. Perhaps I'll also do a lithograph of it. What a fine sight an old working man makes, in his patched bombazine suit with his bald head.Van Gogh's first attempt at the lithograph followed just two days later. He wrote: It seems to me that a painter has a duty to try to put an idea into his work. I was trying to say this in this print—but I can't say it as beautifully, as strikingly as reality, of which this is only a dim reflection seen in a dark mirror—that it seems to me that one of the strongest pieces of evidence for the existence of 'something on high' in which Millet believed, namely in the existence of a God and an eternity, is the unutterably moving quality that there can be in the expression of an old man like that, without his being aware of it perhaps, as he sits so quietly in the corner of his hearth. At the same time something precious, something noble, that can't be meant for the worms. ... This is far from all theology—simply the fact that the poorest woodcutter, heath farmer or miner can have moments of emotion and mood that give him a sense of an eternal home that he is close to.Later, in a rare expression of his own religious feelings, he wrote expressly about this lithograph and two other drawings also posed by Zuyderland, of an old man reading a Bible and saying grace (below) respectively:My intention with these two and with the first old man is one and the same, namely to express the special mood of Christmas and New Year. ... Leaving aside whether or not one agrees with the form, it's something one respects if it's sincere, and for my part I can fully share in it and even feel a need for it, at least in the sense that, just as much as an old man of that kind, I have a feeling of belief in something on high even if I don't know exactly who or what will be there.Seven impressions of the lithograph are known, of which one is annotated At Eternity's Gate. The same theme is taken up again in two later 1883 studies of a seated woman.In 2021, a drawing in a private collection in the Netherlands since 1910 was authenticated as a preliminary study for the original pencil drawing Worn Out by the Van Gogh Museum and put on display. The Van Gogh Museum had previously been aware of the existence of the study for some time.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: How does At Eternity's Gate explain its Lithograph?

The lithograph was based on a pencil drawing Worn Out, one of a series of studies he made in 1882 of a pensioner and war veteran, Adrianus Jacobus Zuyderland, at a local almshouse in The Hague and itself a reworking of a drawing and watercolour he had made the previous year. The inspiration for Worn Out was  Hubert von Herkomer's Sunday at the Chelsea Hospital, an immensely popular print depicting an old war veteran slumped dead that went on to become an acclaimed painting at the Royal Academy, The Last Muster, that Van Gogh had seen in 1875 when in England. Van Gogh wrote of his drawing:Today and yesterday I drew two figures of an old man with his elbows on his knees and his head in his hands. I did it of Schuitemaker once and always kept the drawing, because I wanted to do it better another time. Perhaps I'll also do a lithograph of it. What a fine sight an old working man makes, in his patched bombazine suit with his bald head.Van Gogh's first attempt at the lithograph followed just two days later. He wrote: It seems to me that a painter has a duty to try to put an idea into his work. I was trying to say this in this print—but I can't say it as beautifully, as strikingly as reality, of which this is only a dim reflection seen in a dark mirror—that it seems to me that one of the strongest pieces of evidence for the existence of 'something on high' in which Millet believed, namely in the existence of a God and an eternity, is the unutterably moving quality that there can be in the expression of an old man like that, without his being aware of it perhaps, as he sits so quietly in the corner of his hearth. At the same time something precious, something noble, that can't be meant for the worms. ... This is far from all theology—simply the fact that the poorest woodcutter, heath farmer or miner can have moments of emotion and mood that give him a sense of an eternal home that he is close to.Later, in a rare expression of his own religious feelings, he wrote expressly about this lithograph and two other drawings also posed by Zuyderland, of an old man reading a Bible and saying grace (below) respectively:My intention with these two and with the first old man is one and the same, namely to express the special mood of Christmas and New Year. ... Leaving aside whether or not one agrees with the form, it's something one respects if it's sincere, and for my part I can fully share in it and even feel a need for it, at least in the sense that, just as much as an old man of that kind, I have a feeling of belief in something on high even if I don't know exactly who or what will be there.Seven impressions of the lithograph are known, of which one is annotated At Eternity's Gate. The same theme is taken up again in two later 1883 studies of a seated woman.In 2021, a drawing in a private collection in the Netherlands since 1910 was authenticated as a preliminary study for the original pencil drawing Worn Out by the Van Gogh Museum and put on display. The Van Gogh Museum had previously been aware of the existence of the study for some time.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: In At Eternity's Gate, how is the Lithograph discussed?

The lithograph was based on a pencil drawing Worn Out, one of a series of studies he made in 1882 of a pensioner and war veteran, Adrianus Jacobus Zuyderland, at a local almshouse in The Hague and itself a reworking of a drawing and watercolour he had made the previous year. The inspiration for Worn Out was  Hubert von Herkomer's Sunday at the Chelsea Hospital, an immensely popular print depicting an old war veteran slumped dead that went on to become an acclaimed painting at the Royal Academy, The Last Muster, that Van Gogh had seen in 1875 when in England. Van Gogh wrote of his drawing:Today and yesterday I drew two figures of an old man with his elbows on his knees and his head in his hands. I did it of Schuitemaker once and always kept the drawing, because I wanted to do it better another time. Perhaps I'll also do a lithograph of it. What a fine sight an old working man makes, in his patched bombazine suit with his bald head.Van Gogh's first attempt at the lithograph followed just two days later. He wrote: It seems to me that a painter has a duty to try to put an idea into his work. I was trying to say this in this print—but I can't say it as beautifully, as strikingly as reality, of which this is only a dim reflection seen in a dark mirror—that it seems to me that one of the strongest pieces of evidence for the existence of 'something on high' in which Millet believed, namely in the existence of a God and an eternity, is the unutterably moving quality that there can be in the expression of an old man like that, without his being aware of it perhaps, as he sits so quietly in the corner of his hearth. At the same time something precious, something noble, that can't be meant for the worms. ... This is far from all theology—simply the fact that the poorest woodcutter, heath farmer or miner can have moments of emotion and mood that give him a sense of an eternal home that he is close to.Later, in a rare expression of his own religious feelings, he wrote expressly about this lithograph and two other drawings also posed by Zuyderland, of an old man reading a Bible and saying grace (below) respectively:My intention with these two and with the first old man is one and the same, namely to express the special mood of Christmas and New Year. ... Leaving aside whether or not one agrees with the form, it's something one respects if it's sincere, and for my part I can fully share in it and even feel a need for it, at least in the sense that, just as much as an old man of that kind, I have a feeling of belief in something on high even if I don't know exactly who or what will be there.Seven impressions of the lithograph are known, of which one is annotated At Eternity's Gate. The same theme is taken up again in two later 1883 studies of a seated woman.In 2021, a drawing in a private collection in the Netherlands since 1910 was authenticated as a preliminary study for the original pencil drawing Worn Out by the Van Gogh Museum and put on display. The Van Gogh Museum had previously been aware of the existence of the study for some time.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: In the context of At Eternity's Gate, explain the Commentary and the Lithograph.

Writing about At Eternity's Gate in 1998, the American theologian Kathleen Powers Erickson remarked: Belief in a "life beyond the grave" is central to one of van Gogh's first accomplished lithographs, At Eternity's Gate ... Executed at The Hague in 1882, it depicts an old man seated by a fire, his head buried in his hands. Near the end of his life Van Gogh recreated this image in oil, while recuperating in the asylum at St. Rémy. Bent over with his fists clenched against a face hidden in utter frustration, the subject appears engulfed in grief. Certainly, the work would convey an image of total despair had it not been for the English title Van Gogh  gave it, At Eternity's Gate. It demonstrates that even in his deepest moments of sorrow and pain, Van Gogh clung to a faith in God and eternity, which he tried to express in his work. ...

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: Explain the Commentary about the Lithograph of this artwork, At Eternity's Gate.

Writing about At Eternity's Gate in 1998, the American theologian Kathleen Powers Erickson remarked: Belief in a "life beyond the grave" is central to one of van Gogh's first accomplished lithographs, At Eternity's Gate ... Executed at The Hague in 1882, it depicts an old man seated by a fire, his head buried in his hands. Near the end of his life Van Gogh recreated this image in oil, while recuperating in the asylum at St. Rémy. Bent over with his fists clenched against a face hidden in utter frustration, the subject appears engulfed in grief. Certainly, the work would convey an image of total despair had it not been for the English title Van Gogh  gave it, At Eternity's Gate. It demonstrates that even in his deepest moments of sorrow and pain, Van Gogh clung to a faith in God and eternity, which he tried to express in his work. ...

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: In At Eternity's Gate, how is the Commentary of the Lithograph explained?

Writing about At Eternity's Gate in 1998, the American theologian Kathleen Powers Erickson remarked: Belief in a "life beyond the grave" is central to one of van Gogh's first accomplished lithographs, At Eternity's Gate ... Executed at The Hague in 1882, it depicts an old man seated by a fire, his head buried in his hands. Near the end of his life Van Gogh recreated this image in oil, while recuperating in the asylum at St. Rémy. Bent over with his fists clenched against a face hidden in utter frustration, the subject appears engulfed in grief. Certainly, the work would convey an image of total despair had it not been for the English title Van Gogh  gave it, At Eternity's Gate. It demonstrates that even in his deepest moments of sorrow and pain, Van Gogh clung to a faith in God and eternity, which he tried to express in his work. ...

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: Describe the characteristics of the Commentary in At Eternity's Gate's Lithograph.

Writing about At Eternity's Gate in 1998, the American theologian Kathleen Powers Erickson remarked: Belief in a "life beyond the grave" is central to one of van Gogh's first accomplished lithographs, At Eternity's Gate ... Executed at The Hague in 1882, it depicts an old man seated by a fire, his head buried in his hands. Near the end of his life Van Gogh recreated this image in oil, while recuperating in the asylum at St. Rémy. Bent over with his fists clenched against a face hidden in utter frustration, the subject appears engulfed in grief. Certainly, the work would convey an image of total despair had it not been for the English title Van Gogh  gave it, At Eternity's Gate. It demonstrates that even in his deepest moments of sorrow and pain, Van Gogh clung to a faith in God and eternity, which he tried to express in his work. ...

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

suffered from some form of mental illness

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

following the celebrated incident involving his ear

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: Focus on At Eternity's Gate and explain the Genesis.

Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied (totalement abruti) and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy: What can I tell you of these two last months, things aren't going well at all, I'm more sad and bored than I could tell you, and I no longer know what point I'm at ... While I was ill I nevertheless still did a few small canvases from memory which you'll see later, memories from the north [souvenirs du nord] ... so melancholy do I feel. It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man ('At Eternity's Gate') is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: Explain the Genesis of this artwork, At Eternity's Gate.

Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied (totalement abruti) and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy: What can I tell you of these two last months, things aren't going well at all, I'm more sad and bored than I could tell you, and I no longer know what point I'm at ... While I was ill I nevertheless still did a few small canvases from memory which you'll see later, memories from the north [souvenirs du nord] ... so melancholy do I feel. It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man ('At Eternity's Gate') is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: How does At Eternity's Gate explain its Genesis?

Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied (totalement abruti) and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy: What can I tell you of these two last months, things aren't going well at all, I'm more sad and bored than I could tell you, and I no longer know what point I'm at ... While I was ill I nevertheless still did a few small canvases from memory which you'll see later, memories from the north [souvenirs du nord] ... so melancholy do I feel. It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man ('At Eternity's Gate') is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


At Eternity's Gate

Prompt: In At Eternity's Gate, how is the Genesis discussed?

Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. The official diagnosis furnished by the hospital in Arles that Van Gogh was taken to on 24 December 1888, following the celebrated incident involving his ear, was "acute mania with generalised delirium". Dr. Félix Rey, a young intern at the hospital, also suggested "a kind of epilepsy" he characterised as mental epilepsy.There is no agreement today over a modern diagnosis of Van Gogh's illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive absinthe drinking, heavy smoking and venereal disease. Symptoms were varied, but in their most severe manifestations they involved attacks of confusion and unconsciousness followed by periods of stupor and incoherence during which he was generally unable to paint, draw, or even to write letters. It was such an attack that first led him to being hospitalised at Arles, and following a later relapse, he had himself committed to the asylum at Saint-Rémy in May 1889, where he remained for the most part until May 1890.On 22 February 1890, Van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was only able to write to his brother Theo once, in March 1890, and then only briefly to say he was totally stupefied (totalement abruti) and unable to write. He did not write to Theo again until late April, but that letter makes it clear that he had been able to paint and draw a little during this time, despite his sadness and melancholy: What can I tell you of these two last months, things aren't going well at all, I'm more sad and bored than I could tell you, and I no longer know what point I'm at ... While I was ill I nevertheless still did a few small canvases from memory which you'll see later, memories from the north [souvenirs du nord] ... so melancholy do I feel. It is in these drawings and paintings that Hulsker sees unmistakable signs of his mental collapse, otherwise rare in his work.It is not clear whether Sorrowing Old Man ('At Eternity's Gate') is one of the canvases referred to in his April letter. Hulsker remarks that it would have been remarkable for Van Gogh to have copied his lithograph so faithfully from memory. Nevertheless, the painting is clearly a return to the past, and both the 1970 catalogue raisonné and Hulsker cite the painting as fecit May 1890 at Saint-Rémy.

File:Vincent van Gogh - Portrait of Doctor Félix Rey (F500).jpg

Portraits by Vincent van Gogh#Doctor Rey

Category:Collection of the Kröller-Müller Museum

Houses at Auvers#.22Reminisces of the North.22

Adrianus Jacobus Zuyderland (Van Gogh series)

''Portrait of Doctor Félix Rey'' (F500, JH1659), oil on canvas 1889, [[Pushkin Museum


Edmonia Lewis

Prompt: Focus on Edmonia Lewis and explain the abstract.

Mary Edmonia Lewis, also known as "Wildfire" (c. July 4, 1844 – September 17, 1907), was an American sculptor.Born in Upstate New York of mixed African-American and Native American (Mississauga Ojibwe) heritage, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence. She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream. In 2002, the scholar Molefi Kete Asante named Edmonia Lewis on his list of 100 Greatest African Americans.Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.

Category:19th-century Native American women

File:Forever Free by Edmonia Lewis - The Met, 2022.jpg

File:Edmonia Lewis, hands of Gerrit Smith and his wife Ann Carroll Fitzhugh.jpg

Category:People acquitted of manslaughter

Category:20th-century Native American artists

Category:Burials at St Mary's Catholic Cemetery, Kensal Green

Category:American people of Haitian descent

Category:American people of Ojibwe descent

Category:20th-century American women sculptors

Category:New York Central College alumni

''Hiawatha'', 1868, by Edmonia Lewis, inspired by [[Henry Wadsworth Longfellow

While in Rome, Lewis adopted the neoclassical style of sculpture, as seen in ''Bust of Dr. Dio Lewis'' (1868).<ref>{{cite web

Category:19th-century American women sculptors

Cotton States and International Exposition

Category:Native American Roman Catholics

Category:19th-century Native American artists

Category:Alumni of Bedford College, London

File:Forever Free by Edmonia Lewis (1867).png

Category:20th-century Native American women

Category:Sculptors from New York (state)

Lewis's grave in [[St. Mary's Roman Catholic Cemetery

Image:Edmonia Lewis - Bust of Dr Dio Lewis - Walters 27605.jpg

Category:American expatriates in the United Kingdom

The Times-Picayune/The New Orleans Advocate

Category:Native American women sculptors


Edmonia Lewis

Prompt: Explain the abstract of this artwork, Edmonia Lewis.

Mary Edmonia Lewis, also known as "Wildfire" (c. July 4, 1844 – September 17, 1907), was an American sculptor.Born in Upstate New York of mixed African-American and Native American (Mississauga Ojibwe) heritage, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence. She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream. In 2002, the scholar Molefi Kete Asante named Edmonia Lewis on his list of 100 Greatest African Americans.Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.

Category:19th-century Native American women

File:Forever Free by Edmonia Lewis - The Met, 2022.jpg

File:Edmonia Lewis, hands of Gerrit Smith and his wife Ann Carroll Fitzhugh.jpg

Category:People acquitted of manslaughter

Category:20th-century Native American artists

Category:Burials at St Mary's Catholic Cemetery, Kensal Green

Category:American people of Haitian descent

Category:American people of Ojibwe descent

Category:20th-century American women sculptors

Category:New York Central College alumni

''Hiawatha'', 1868, by Edmonia Lewis, inspired by [[Henry Wadsworth Longfellow

While in Rome, Lewis adopted the neoclassical style of sculpture, as seen in ''Bust of Dr. Dio Lewis'' (1868).<ref>{{cite web

Category:19th-century American women sculptors

Cotton States and International Exposition

Category:Native American Roman Catholics

Category:19th-century Native American artists

Category:Alumni of Bedford College, London

File:Forever Free by Edmonia Lewis (1867).png

Category:20th-century Native American women

Category:Sculptors from New York (state)

Lewis's grave in [[St. Mary's Roman Catholic Cemetery

Image:Edmonia Lewis - Bust of Dr Dio Lewis - Walters 27605.jpg

Category:American expatriates in the United Kingdom

The Times-Picayune/The New Orleans Advocate

Category:Native American women sculptors


Edmonia Lewis

Prompt: How does Edmonia Lewis explain its abstract?

Mary Edmonia Lewis, also known as "Wildfire" (c. July 4, 1844 – September 17, 1907), was an American sculptor.Born in Upstate New York of mixed African-American and Native American (Mississauga Ojibwe) heritage, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence. She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream. In 2002, the scholar Molefi Kete Asante named Edmonia Lewis on his list of 100 Greatest African Americans.Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.

Category:19th-century Native American women

File:Forever Free by Edmonia Lewis - The Met, 2022.jpg

File:Edmonia Lewis, hands of Gerrit Smith and his wife Ann Carroll Fitzhugh.jpg

Category:People acquitted of manslaughter

Category:20th-century Native American artists

Category:Burials at St Mary's Catholic Cemetery, Kensal Green

Category:American people of Haitian descent

Category:American people of Ojibwe descent

Category:20th-century American women sculptors

Category:New York Central College alumni

''Hiawatha'', 1868, by Edmonia Lewis, inspired by [[Henry Wadsworth Longfellow

While in Rome, Lewis adopted the neoclassical style of sculpture, as seen in ''Bust of Dr. Dio Lewis'' (1868).<ref>{{cite web

Category:19th-century American women sculptors

Cotton States and International Exposition

Category:Native American Roman Catholics

Category:19th-century Native American artists

Category:Alumni of Bedford College, London

File:Forever Free by Edmonia Lewis (1867).png

Category:20th-century Native American women

Category:Sculptors from New York (state)

Lewis's grave in [[St. Mary's Roman Catholic Cemetery

Image:Edmonia Lewis - Bust of Dr Dio Lewis - Walters 27605.jpg

Category:American expatriates in the United Kingdom

The Times-Picayune/The New Orleans Advocate

Category:Native American women sculptors


Edmonia Lewis

Prompt: In Edmonia Lewis, how is the abstract discussed?

Mary Edmonia Lewis, also known as "Wildfire" (c. July 4, 1844 – September 17, 1907), was an American sculptor.Born in Upstate New York of mixed African-American and Native American (Mississauga Ojibwe) heritage, she worked for most of her career in Rome, Italy. She was the first African-American and Native American sculptor to achieve national and then international prominence. She began to gain prominence in the United States during the Civil War; at the end of the 19th century, she remained the only Black woman artist who had participated in and been recognized to any extent by the American artistic mainstream. In 2002, the scholar Molefi Kete Asante named Edmonia Lewis on his list of 100 Greatest African Americans.Her work is known for incorporating themes relating to Black people and indigenous peoples of the Americas into Neoclassical-style sculpture.

Category:19th-century Native American women

File:Forever Free by Edmonia Lewis - The Met, 2022.jpg

File:Edmonia Lewis, hands of Gerrit Smith and his wife Ann Carroll Fitzhugh.jpg

Category:People acquitted of manslaughter

Category:20th-century Native American artists

Category:Burials at St Mary's Catholic Cemetery, Kensal Green

Category:American people of Haitian descent

Category:American people of Ojibwe descent

Category:20th-century American women sculptors

Category:New York Central College alumni

''Hiawatha'', 1868, by Edmonia Lewis, inspired by [[Henry Wadsworth Longfellow

While in Rome, Lewis adopted the neoclassical style of sculpture, as seen in ''Bust of Dr. Dio Lewis'' (1868).<ref>{{cite web

Category:19th-century American women sculptors

Cotton States and International Exposition

Category:Native American Roman Catholics

Category:19th-century Native American artists

Category:Alumni of Bedford College, London

File:Forever Free by Edmonia Lewis (1867).png

Category:20th-century Native American women

Category:Sculptors from New York (state)

Lewis's grave in [[St. Mary's Roman Catholic Cemetery

Image:Edmonia Lewis - Bust of Dr Dio Lewis - Walters 27605.jpg

Category:American expatriates in the United Kingdom

The Times-Picayune/The New Orleans Advocate

Category:Native American women sculptors


Edmonia Lewis

Prompt: In the context of Edmonia Lewis, explain the Early life and the Life and career.

According to the American National Biography, reliable information about her early life is limited, and Lewis "was often inconsistent in interviews even with basic facts about her origins, preferring to present herself as the exotic product of a childhood spent roaming the forests with her mother's people." On official documents she variously gave 1842, 1844, and 1854 as her birth year. She was born near Albany, New York. Most of her girlhood was apparently spent in Newark, New Jersey.Her mother, Catherine Mike Lewis, was African-Native American, of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African-American men are mentioned in different sources as being her father. The first is Samuel Lewis, who was Afro-Haitian and worked as a valet (gentleman's servant). Other sources say her father was the writer on African Americans, Robert Benjamin Lewis. Her half-brother Samuel, who is treated at some length in a history of Montana, said that their father was "a West Indian Frenchman", and his mother "part African and partly a descendant of the educated Narragansett Indians of New York state." (The Narragansett people are originally from Rhode Island.)By the time Lewis reached the age of nine, both of her parents had died; Samuel Lewis died in 1847 and Robert Benjamin Lewis in 1853. Her two maternal aunts adopted her and her older half-brother Samuel. Samuel was born in 1835 to his father of the same name, and his first wife, in Haiti. The family came to the United States when Samuel was a young child. Samuel became a barber at age 12 after their father died.The children lived with their aunts near Niagara Falls, New York, for about four years. Lewis and her aunts sold Ojibwe baskets and other items, such as moccasins and embroidered blouses, to tourists visiting Niagara Falls, Toronto, and Buffalo. During this time, Lewis went by her Native American name, Wildfire, while her brother was called Sunshine. In 1852, Samuel left for San Francisco, California, leaving Lewis in the care of a Captain S. R. Mills.Samuel's endeavours in the California gold rush proved successful, and by the time Edmonia got to college, he "supplied her every want anticipating her wishes after the style and manner of a person of ample income".In 1856, Lewis enrolled in a pre-college program at New York Central College, a Baptist abolitionist school in McGrawville (now McGraw, New York). There Lewis met many of the leading activists who would become mentors, patrons, and possible subjects for her work as her artistic career developed. In a later interview, Lewis said that she left the school after three years, having been "declared to be wild."Until I was twelve years old I led this wandering life, fishing and swimming...and making moccasins. I was then sent to school for three years in [McGrawville], but was declared to be wild—they could do nothing with me.However, her academic record at Central College (1856–fall 1858) shows that her grades, "conduct", and attendance were all exemplary. Her classes included Latin, French, "grammar", arithmetic, drawing, composition, and declamation (public speaking).

Category:19th-century Native American women

File:Forever Free by Edmonia Lewis - The Met, 2022.jpg

File:Edmonia Lewis, hands of Gerrit Smith and his wife Ann Carroll Fitzhugh.jpg

Category:People acquitted of manslaughter

Category:20th-century Native American artists

Category:Burials at St Mary's Catholic Cemetery, Kensal Green

Category:American people of Haitian descent

Category:American people of Ojibwe descent

Category:20th-century American women sculptors

Category:New York Central College alumni

''Hiawatha'', 1868, by Edmonia Lewis, inspired by [[Henry Wadsworth Longfellow

While in Rome, Lewis adopted the neoclassical style of sculpture, as seen in ''Bust of Dr. Dio Lewis'' (1868).<ref>{{cite web

Category:19th-century American women sculptors

Cotton States and International Exposition

Category:Native American Roman Catholics

Category:19th-century Native American artists

Category:Alumni of Bedford College, London

File:Forever Free by Edmonia Lewis (1867).png

Category:20th-century Native American women

Category:Sculptors from New York (state)

Lewis's grave in [[St. Mary's Roman Catholic Cemetery

Image:Edmonia Lewis - Bust of Dr Dio Lewis - Walters 27605.jpg

Category:American expatriates in the United Kingdom

The Times-Picayune/The New Orleans Advocate

Category:Native American women sculptors