Venus de Milo

Prompt: In Venus de Milo, how is the Discovery discussed?

The Venus de Milo was discovered on 8 April 1820 by a Greek farmer on the island of Milos, then still part of the Ottoman Empire.  Olivier Voutier, a French sailor interested in archaeology, witnessed the discovery and encouraged the farmer to continue digging.  Voutier and the farmer uncovered  two large pieces of the sculpture and a third, smaller piece.  A fragment of an arm, a hand holding an apple, and two herms were also found alongside the statue. Two inscriptions were also apparently found with the Venus. One, transcribed by Dumont D'Urville, a French naval officer who arrived on Milos shortly after the discovery, commemorates a dedication by one Bakchios son of Satios, the assistant gymnasiarch. The other, recorded on a drawing made by Auguste Debay, preserves part of a sculptor's signature.  Both inscriptions are now lost.  Other sculptural fragments found around the same time include a third herm, two further arms, and a foot with sandal.Dumont D'Urville wrote an account of the find.  According to his testimony, the Venus statue was found in a quadrangular niche.  If this findspot were the original context for the Venus, the niche and the gymnasiarch's inscription suggests that the Venus de Milo was installed in the gymnasium of Melos.  An alternative theory proposed by Salomon Reinach is that the findspot was instead the remains of a lime kiln, and that the other fragments had no connection to the Venus; this theory is dismissed by Christofilis Maggidis as having "no factual basis".After stopping in Melos, D'Urville's ship sailed to Constantinople, where he reported the find to the Comte de Marcellus, assistant to Charles François de Riffardeau, marquis de Rivière, the French ambassador. Rivière agreed that Marcellus should go to Melos to buy the statue.  By the time Marcellus arrived at Melos, the farmer who discovered the statue had already received another offer to buy it, and it had been loaded onto a ship; the French intervened and Marcellus was able to buy the Venus.  It was brought to France, where Louis XVIII had it installed in the Louvre. Contrary to the usual practice at the time, on the recommendation of Quatremère de Quincy, the Venus was not significantly restored but was exhibited in the state in which she was discovered.  Quatremère, who believed that the Venus was originally part of a group with a sculpture of Mars, argued that as the entire Mars was missing it was impossible to restore the sculpture.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Focus on Venus de Milo and explain the Display.

The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the Salle du Tibre where it remained until 1848.  From there it was moved to the Salle de l'Isis, where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the Salle de l'Isis was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the Salle de la Vénus de Milo to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Explain the Display of this artwork, Venus de Milo.

The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the Salle du Tibre where it remained until 1848.  From there it was moved to the Salle de l'Isis, where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the Salle de l'Isis was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the Salle de la Vénus de Milo to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: How does Venus de Milo explain its Display?

The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the Salle du Tibre where it remained until 1848.  From there it was moved to the Salle de l'Isis, where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the Salle de l'Isis was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the Salle de la Vénus de Milo to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: In Venus de Milo, how is the Display discussed?

The Venus de Milo was initially installed in the Louvre in 1821; it was rapidly moved twice before finding a long-term home in the Salle du Tibre where it remained until 1848.  From there it was moved to the Salle de l'Isis, where it remained until being removed from the museum in 1870 for protection during the Paris Commune.  When the Salle de l'Isis was renovated in the 1880s, the Venus was given a new pedestal which allowed spectators to rotate the sculpture; at the same time the approach to the sculpture was filled with other ancient Venus statues.  A proposal in 1919 to display the Venus alongside the Leonardo's Mona Lisa and Michelangelo's Dying Slave and Rebellious Slave was never carried out, but in 1936, the sculpture was once again moved to the Salle de la Vénus de Milo to accommodate the volume of visitors to the Louvre; the other Venus statues were removed to focus visitors on the Venus de Milo. At this time the route for visitors through the Louvre was modified to be more chronological, coming through galleries of archaic and classical sculpture before arriving in a gallery dedicated to the Hellenstic period; the Venus de Milo was placed between the classical and Hellenistic galleries. During the Second World War the sculpture was once again removed from the Louvre for safekeeping, and stored in the Château de Valençay. In 1964 it was exhibited in Tokyo and Kyoto; this is the only time the sculpture has left France since it was acquired by the Louvre.  In 1972 an experiment was made with a new site for the sculpture, and it was temporarily moved to allow renovations in the 1980s and 1990s; by 1999 the volume of visitors to the Venus was causing problems and the Louvre authorities were considering returning the sculpture to its previous setting. In 2010 the sculpture was installed in its new setting, with the sculptural fragments discovered alongside it on display in the same room.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: In the context of Venus de Milo, explain the Identification and the Interpretation.

The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to c. 420 BC – c. 380 BC, between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to c. 150 BC – c. 50 BC, and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to c. 150 BC – c. 110 BC.  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests c. 160 BC – c. 140 BC. The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Explain the Identification about the Interpretation of this artwork, Venus de Milo.

The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to c. 420 BC – c. 380 BC, between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to c. 150 BC – c. 50 BC, and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to c. 150 BC – c. 110 BC.  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests c. 160 BC – c. 140 BC. The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: In Venus de Milo, how is the Identification of the Interpretation explained?

The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to c. 420 BC – c. 380 BC, between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to c. 150 BC – c. 50 BC, and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to c. 150 BC – c. 110 BC.  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests c. 160 BC – c. 140 BC. The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Describe the characteristics of the Identification in Venus de Milo's Interpretation.

The Venus de Milo is probably a sculpture of the goddess Aphrodite, but its fragmentary state makes secure identification difficult.  The earliest written accounts of the sculpture, by a French captain and the French vice-consul on Melos, both identify it as representing Aphrodite holding the apple of discord, apparently on the basis of the now-lost hand holding an apple found with the sculpture.  An alternative identification proposed by Reinach is that she represents the sea-goddess Amphitrite, and was originally grouped with a sculpture of Poseidon from Melos, discovered in 1878.  Other proposed identifications include a Muse, Nemesis, or Sappho.The authorship and date of the Venus de Milo were both disputed from its discovery.  Within a month of its acquisition by the Louvre, three French scholars had published papers on the statue, disagreeing on all aspects of its interpretation: Toussaint-Bernard Éméric-David thought it dated to c. 420 BC – c. 380 BC, between sculptors Phidias and Praxiteles; Quatremère de Quincy attributed it to the mid-fourth century and the circle of Praxiteles; and the Comte de Clarac thought it a later copy of a work by Praxiteles.  The scholarly consensus in the 19th century was that the Venus dated to the fourth century BC.  In 1893, Adolf Furtwängler was the first to argue that it was in fact late Hellenistic, dating to c. 150 BC – c. 50 BC, and this dating continues to be widely accepted.One of the inscriptions discovered with the statue, which was drawn by Debay as fitting into the missing section of the statue's plinth, names the sculptor as [---]andros, son of [M]enides, of Antioch on the Maeander. The inscription must date to after 280 BC, when Antioch on the Maeander was founded; the lettering of the inscription suggests a date of 150–50 BC.  Maggidis argues based on this inscription, as well as the style of the statue and the increasing prosperity of Melos in the period due to Roman involvement on the island which he suggests is a plausible context for the commissioning of the sculpture, that it probably dates to c. 150 BC – c. 110 BC.  Rachel Kousser agrees with Furtwängler's dates for the sculpture.  Marianne Hamiaux suggests c. 160 BC – c. 140 BC. The association of the fragmentary artist's signature with the sculpture, and thus the identification of the sculptor as Alexandros of Antioch, is not universally accepted. Kousser and Jean-Luc Martinez both question this connection. Kousser notes that though the plaque is shown fitting into the broken base of the Venus in Debay's drawing, the drawing shows no evidence of the sculpture's missing left foot which would have rested on it, while in Voutier's sketch of the finds the plaque is shown as the base of one of the herms found alongside the Venus. As the inscription is lost, its connection to the Venus cannot be either proven or disproven.Magiddis suggested that the Venus de Milo was carved by the same sculptor who also made the Poseidon of Melos. Isméni Trianti has suggested that three further sculptures found in Melos can be attributed to the same artist: two statues of women, and a colossal statue of a god.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: In the context of Venus de Milo, explain the Reconstructions and the Interpretation.

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo's right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Explain the Reconstructions about the Interpretation of this artwork, Venus de Milo.

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo's right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: In Venus de Milo, how is the Reconstructions of the Interpretation explained?

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo's right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Describe the characteristics of the Reconstructions in Venus de Milo's Interpretation.

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo's right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Focus on Venus de Milo and explain the Reception.

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Explain the Reception of this artwork, Venus de Milo.

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: How does Venus de Milo explain its Reception?

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: In Venus de Milo, how is the Reception discussed?

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the abstract.

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the abstract of this artwork, Yankee Doodle.

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: How does Yankee Doodle explain its abstract?

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the abstract discussed?

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the Origin.

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. There are rumors that the earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, supposedly dating back as far as 15th-century Holland. It supposedly contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." Farm laborers in Holland were paid "as much buttermilk (Botermelk) as they could drink, and a tenth (tanther) of the grain".The term Doodle first appeared in English in the early 17th century and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Origin of this artwork, Yankee Doodle.

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. There are rumors that the earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, supposedly dating back as far as 15th-century Holland. It supposedly contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." Farm laborers in Holland were paid "as much buttermilk (Botermelk) as they could drink, and a tenth (tanther) of the grain".The term Doodle first appeared in English in the early 17th century and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: How does Yankee Doodle explain its Origin?

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. There are rumors that the earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, supposedly dating back as far as 15th-century Holland. It supposedly contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." Farm laborers in Holland were paid "as much buttermilk (Botermelk) as they could drink, and a tenth (tanther) of the grain".The term Doodle first appeared in English in the early 17th century and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the Origin discussed?

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. There are rumors that the earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, supposedly dating back as far as 15th-century Holland. It supposedly contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." Farm laborers in Holland were paid "as much buttermilk (Botermelk) as they could drink, and a tenth (tanther) of the grain".The term Doodle first appeared in English in the early 17th century and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In the context of Yankee Doodle, explain the Early versions and the Origin.

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York. The British troops sang it to mock their stereotype of the American soldier as a Yankee simpleton who thought that he was stylish if he simply stuck a feather in his cap. It was also popular among the Americans as a song of defiance, and they added verses to it that mocked the British and hailed George Washington as the Commander of the Continental army. By 1781, "Yankee Doodle" had turned from being an insult to being a song of national pride.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:Upon their return to Boston [pursued by the Minutemen], one [Briton] asked his brother officer how he liked the tune now, – "Dang them", returned he, "they made us dance it till we were tired" – since which Yankee Doodle sounds less sweet to their ears.The earliest known version of the lyrics comes from 1755 or 1758 (the date of origin is disputed):The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Early versions about the Origin of this artwork, Yankee Doodle.

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York. The British troops sang it to mock their stereotype of the American soldier as a Yankee simpleton who thought that he was stylish if he simply stuck a feather in his cap. It was also popular among the Americans as a song of defiance, and they added verses to it that mocked the British and hailed George Washington as the Commander of the Continental army. By 1781, "Yankee Doodle" had turned from being an insult to being a song of national pride.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:Upon their return to Boston [pursued by the Minutemen], one [Briton] asked his brother officer how he liked the tune now, – "Dang them", returned he, "they made us dance it till we were tired" – since which Yankee Doodle sounds less sweet to their ears.The earliest known version of the lyrics comes from 1755 or 1758 (the date of origin is disputed):The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the Early versions of the Origin explained?

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York. The British troops sang it to mock their stereotype of the American soldier as a Yankee simpleton who thought that he was stylish if he simply stuck a feather in his cap. It was also popular among the Americans as a song of defiance, and they added verses to it that mocked the British and hailed George Washington as the Commander of the Continental army. By 1781, "Yankee Doodle" had turned from being an insult to being a song of national pride.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:Upon their return to Boston [pursued by the Minutemen], one [Briton] asked his brother officer how he liked the tune now, – "Dang them", returned he, "they made us dance it till we were tired" – since which Yankee Doodle sounds less sweet to their ears.The earliest known version of the lyrics comes from 1755 or 1758 (the date of origin is disputed):The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Describe the characteristics of the Early versions in Yankee Doodle's Origin.

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York. The British troops sang it to mock their stereotype of the American soldier as a Yankee simpleton who thought that he was stylish if he simply stuck a feather in his cap. It was also popular among the Americans as a song of defiance, and they added verses to it that mocked the British and hailed George Washington as the Commander of the Continental army. By 1781, "Yankee Doodle" had turned from being an insult to being a song of national pride.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:Upon their return to Boston [pursued by the Minutemen], one [Briton] asked his brother officer how he liked the tune now, – "Dang them", returned he, "they made us dance it till we were tired" – since which Yankee Doodle sounds less sweet to their ears.The earliest known version of the lyrics comes from 1755 or 1758 (the date of origin is disputed):The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the Full version.

The full version of the song as it is known today:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Full version of this artwork, Yankee Doodle.

The full version of the song as it is known today:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: How does Yankee Doodle explain its Full version?

The full version of the song as it is known today:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the Full version discussed?

The full version of the song as it is known today:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the Tune.

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspired the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Tune of this artwork, Yankee Doodle.

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspired the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: How does Yankee Doodle explain its Tune?

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspired the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the Tune discussed?

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspired the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the Notable renditions.

The American state broadcaster Voice of America (VOA) uses the tune of Yankee Doodle as their interval signal. There is uncertainty over the origin of the VOA's decision to use the tune. In his 1990 memoir Being Red, Howard Fast claimed that while working as the VOA's chief news writer and news director in 1943, he selected "as a joke" Yankee Doodle for the broadcaster's interval signal. I established contact at the Soviet embassy with people who spoke English and were willing to feed me important bits and pieces from their side of the wire. I had long ago, somewhat facetiously, suggested “Yankee Doodle” as our musical signal, and now that silly little jingle was a power cue, a note of hope everywhere on earth, conveyed by short wave as well as by our four-hour American BBC. When I sat down to write “Good morning, this is the Voice of America,” I now has a grasp of things.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Notable renditions of this artwork, Yankee Doodle.

The American state broadcaster Voice of America (VOA) uses the tune of Yankee Doodle as their interval signal. There is uncertainty over the origin of the VOA's decision to use the tune. In his 1990 memoir Being Red, Howard Fast claimed that while working as the VOA's chief news writer and news director in 1943, he selected "as a joke" Yankee Doodle for the broadcaster's interval signal. I established contact at the Soviet embassy with people who spoke English and were willing to feed me important bits and pieces from their side of the wire. I had long ago, somewhat facetiously, suggested “Yankee Doodle” as our musical signal, and now that silly little jingle was a power cue, a note of hope everywhere on earth, conveyed by short wave as well as by our four-hour American BBC. When I sat down to write “Good morning, this is the Voice of America,” I now has a grasp of things.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War