Babe's Dream

Prompt: In Babe's Dream, how is the Artist discussed?

Susan Luery was born in Baltimore, Maryland, and attended the Maryland Institute College of Art where she learned to refine her work. Luery researched Ruth by reading books and talking to people with both knowledge of Ruth and baseball so she could “connect” with the subject. She also had a look-alike model come to her studio while she worked on the statue. It took her seven months to form the 28-inch model statue before creating the large-scale version.She produced the 16-foot statue a year later, in 1994, and it was placed in the Camden Yards on Babe Ruth's 100th birthday in February 1995. The statue was officially unveiled at an Orioles game where Luery and Ruth's daughter, Julia Ruth Stevens, threw out the game ball in celebration.

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Prompt: Focus on Landscape with the Fall of Icarus (de Momper) and explain the abstract.

Landscape with the Fall of Icarus is an oil-on-canvas painting by Flemish painter Joos de Momper. It was possibly painted in the 1620s, and is currently housed at the Nationalmuseum in Stockholm.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: Explain the abstract of this artwork, Landscape with the Fall of Icarus (de Momper).

Landscape with the Fall of Icarus is an oil-on-canvas painting by Flemish painter Joos de Momper. It was possibly painted in the 1620s, and is currently housed at the Nationalmuseum in Stockholm.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: How does Landscape with the Fall of Icarus (de Momper) explain its abstract?

Landscape with the Fall of Icarus is an oil-on-canvas painting by Flemish painter Joos de Momper. It was possibly painted in the 1620s, and is currently housed at the Nationalmuseum in Stockholm.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: In Landscape with the Fall of Icarus (de Momper), how is the abstract discussed?

Landscape with the Fall of Icarus is an oil-on-canvas painting by Flemish painter Joos de Momper. It was possibly painted in the 1620s, and is currently housed at the Nationalmuseum in Stockholm.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: Focus on Landscape with the Fall of Icarus (de Momper) and explain the Subject.

In Greek mythology, Icarus succeeded in flying, while attempting to escape from Crete, with wings made by his father Daedalus, using feathers secured with beeswax. Dedalus asked icarus to fly neither too low nor too high, warning him of hubris. Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax. He fell into the sea and drowned.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: Explain the Subject of this artwork, Landscape with the Fall of Icarus (de Momper).

In Greek mythology, Icarus succeeded in flying, while attempting to escape from Crete, with wings made by his father Daedalus, using feathers secured with beeswax. Dedalus asked icarus to fly neither too low nor too high, warning him of hubris. Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax. He fell into the sea and drowned.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: How does Landscape with the Fall of Icarus (de Momper) explain its Subject?

In Greek mythology, Icarus succeeded in flying, while attempting to escape from Crete, with wings made by his father Daedalus, using feathers secured with beeswax. Dedalus asked icarus to fly neither too low nor too high, warning him of hubris. Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax. He fell into the sea and drowned.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: In Landscape with the Fall of Icarus (de Momper), how is the Subject discussed?

In Greek mythology, Icarus succeeded in flying, while attempting to escape from Crete, with wings made by his father Daedalus, using feathers secured with beeswax. Dedalus asked icarus to fly neither too low nor too high, warning him of hubris. Ignoring his father's warnings, Icarus chose to fly too close to the sun, melting the wax. He fell into the sea and drowned.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: Focus on Landscape with the Fall of Icarus (de Momper) and explain the Painting.

To the left, several ships are sailing, coasting steep cliffs. Tall and leafy trees frame the painting to the right; a seaside town stretches in the middle, overhung by fabulous cliffs, which are typical of de Momper and his group of Flemish landscapists.In the trees' shadow there sits a shepherd, tending to his flock. There is a fisherman to the left, and a ploughman on their right. These three figures (ploughman, shepherd and angler) are mentioned in Ovid's account of the legend. In the Roman poet's version, they are: "astonished and think to see gods approaching them through the aether." In contrast to this, there is a Flemish proverb that goes "And the farmer continued to plough..." (En de boer ... hij ploegde voort) pointing out the ignorance of people to fellow men's suffering. The painting was inspired by Bruegel's painting of the same name. In de Momper's version, too, the three figures appear to pay no attention to flying men, mistakable for gods. As regards Bruegel's painting, it has been suggested by W. H. Auden in his 1938 poem, that it depicts humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.The painting was taken to Stockholm as booty in 1648.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: Explain the Painting of this artwork, Landscape with the Fall of Icarus (de Momper).

To the left, several ships are sailing, coasting steep cliffs. Tall and leafy trees frame the painting to the right; a seaside town stretches in the middle, overhung by fabulous cliffs, which are typical of de Momper and his group of Flemish landscapists.In the trees' shadow there sits a shepherd, tending to his flock. There is a fisherman to the left, and a ploughman on their right. These three figures (ploughman, shepherd and angler) are mentioned in Ovid's account of the legend. In the Roman poet's version, they are: "astonished and think to see gods approaching them through the aether." In contrast to this, there is a Flemish proverb that goes "And the farmer continued to plough..." (En de boer ... hij ploegde voort) pointing out the ignorance of people to fellow men's suffering. The painting was inspired by Bruegel's painting of the same name. In de Momper's version, too, the three figures appear to pay no attention to flying men, mistakable for gods. As regards Bruegel's painting, it has been suggested by W. H. Auden in his 1938 poem, that it depicts humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.The painting was taken to Stockholm as booty in 1648.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: How does Landscape with the Fall of Icarus (de Momper) explain its Painting?

To the left, several ships are sailing, coasting steep cliffs. Tall and leafy trees frame the painting to the right; a seaside town stretches in the middle, overhung by fabulous cliffs, which are typical of de Momper and his group of Flemish landscapists.In the trees' shadow there sits a shepherd, tending to his flock. There is a fisherman to the left, and a ploughman on their right. These three figures (ploughman, shepherd and angler) are mentioned in Ovid's account of the legend. In the Roman poet's version, they are: "astonished and think to see gods approaching them through the aether." In contrast to this, there is a Flemish proverb that goes "And the farmer continued to plough..." (En de boer ... hij ploegde voort) pointing out the ignorance of people to fellow men's suffering. The painting was inspired by Bruegel's painting of the same name. In de Momper's version, too, the three figures appear to pay no attention to flying men, mistakable for gods. As regards Bruegel's painting, it has been suggested by W. H. Auden in his 1938 poem, that it depicts humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.The painting was taken to Stockholm as booty in 1648.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Prompt: In Landscape with the Fall of Icarus (de Momper), how is the Painting discussed?

To the left, several ships are sailing, coasting steep cliffs. Tall and leafy trees frame the painting to the right; a seaside town stretches in the middle, overhung by fabulous cliffs, which are typical of de Momper and his group of Flemish landscapists.In the trees' shadow there sits a shepherd, tending to his flock. There is a fisherman to the left, and a ploughman on their right. These three figures (ploughman, shepherd and angler) are mentioned in Ovid's account of the legend. In the Roman poet's version, they are: "astonished and think to see gods approaching them through the aether." In contrast to this, there is a Flemish proverb that goes "And the farmer continued to plough..." (En de boer ... hij ploegde voort) pointing out the ignorance of people to fellow men's suffering. The painting was inspired by Bruegel's painting of the same name. In de Momper's version, too, the three figures appear to pay no attention to flying men, mistakable for gods. As regards Bruegel's painting, it has been suggested by W. H. Auden in his 1938 poem, that it depicts humankind's indifference to suffering by highlighting the ordinary events which continue to occur, despite the unobserved death of Icarus.The painting was taken to Stockholm as booty in 1648.

Category:Paintings in the Nationalmuseum Stockholm

Category:Paintings based on Metamorphoses


Transfiguration of Christ (Bellini)

Prompt: Focus on Transfiguration of Christ (Bellini) and explain the abstract.

Transfiguration of Christ is a c.1480 oil-on-panel painting of the Gospel episode the Transfiguration of Jesus by the Italian Renaissance master Giovanni Bellini, now in the Capodimonte Museum in Naples, Italy.By this time Bellini had abandoned Gothic art and outgrown the influence of Mantegna. The picture shows a more relaxed style than his earlier Transfiguration. The work is signed IOANNES BELLINUS on a small chart hanging from the fence in the foreground. The leaves of the tree on the right, as well as the faces of James and Peter, are from a later restoration.

Category:Paintings of the Transfiguration of Jesus

Category:Paintings in the Museo di Capodimonte


Transfiguration of Christ (Bellini)

Prompt: Explain the abstract of this artwork, Transfiguration of Christ (Bellini).

Transfiguration of Christ is a c.1480 oil-on-panel painting of the Gospel episode the Transfiguration of Jesus by the Italian Renaissance master Giovanni Bellini, now in the Capodimonte Museum in Naples, Italy.By this time Bellini had abandoned Gothic art and outgrown the influence of Mantegna. The picture shows a more relaxed style than his earlier Transfiguration. The work is signed IOANNES BELLINUS on a small chart hanging from the fence in the foreground. The leaves of the tree on the right, as well as the faces of James and Peter, are from a later restoration.

Category:Paintings of the Transfiguration of Jesus

Category:Paintings in the Museo di Capodimonte


Transfiguration of Christ (Bellini)

Prompt: How does Transfiguration of Christ (Bellini) explain its abstract?

Transfiguration of Christ is a c.1480 oil-on-panel painting of the Gospel episode the Transfiguration of Jesus by the Italian Renaissance master Giovanni Bellini, now in the Capodimonte Museum in Naples, Italy.By this time Bellini had abandoned Gothic art and outgrown the influence of Mantegna. The picture shows a more relaxed style than his earlier Transfiguration. The work is signed IOANNES BELLINUS on a small chart hanging from the fence in the foreground. The leaves of the tree on the right, as well as the faces of James and Peter, are from a later restoration.

Category:Paintings of the Transfiguration of Jesus

Category:Paintings in the Museo di Capodimonte


Transfiguration of Christ (Bellini)

Prompt: In Transfiguration of Christ (Bellini), how is the abstract discussed?

Transfiguration of Christ is a c.1480 oil-on-panel painting of the Gospel episode the Transfiguration of Jesus by the Italian Renaissance master Giovanni Bellini, now in the Capodimonte Museum in Naples, Italy.By this time Bellini had abandoned Gothic art and outgrown the influence of Mantegna. The picture shows a more relaxed style than his earlier Transfiguration. The work is signed IOANNES BELLINUS on a small chart hanging from the fence in the foreground. The leaves of the tree on the right, as well as the faces of James and Peter, are from a later restoration.

Category:Paintings of the Transfiguration of Jesus

Category:Paintings in the Museo di Capodimonte


Bust of Giuseppe Mazzini

Prompt: Focus on Bust of Giuseppe Mazzini and explain the abstract.

An outdoor bronze bust of Giuseppe Mazzini by Giovanni Turini is installed in Central Park's Sheep Meadow, in Manhattan, New York. The sculpture was commissioned by a group of Italian-Americans and was dedicated in 1878 with a speech by American poet William Cullen Bryant. It sits on a granite pedestal, which includes two inscriptions that translate to "thought and action" and "God and the people". In 1994, the bust was restored by the Central Park Conservancy.

Category:Monuments and memorials in Manhattan

Category:1878 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Bronze sculptures in Central Park


Bust of Giuseppe Mazzini

Prompt: Explain the abstract of this artwork, Bust of Giuseppe Mazzini.

An outdoor bronze bust of Giuseppe Mazzini by Giovanni Turini is installed in Central Park's Sheep Meadow, in Manhattan, New York. The sculpture was commissioned by a group of Italian-Americans and was dedicated in 1878 with a speech by American poet William Cullen Bryant. It sits on a granite pedestal, which includes two inscriptions that translate to "thought and action" and "God and the people". In 1994, the bust was restored by the Central Park Conservancy.

Category:Monuments and memorials in Manhattan

Category:1878 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Bronze sculptures in Central Park


Bust of Giuseppe Mazzini

Prompt: How does Bust of Giuseppe Mazzini explain its abstract?

An outdoor bronze bust of Giuseppe Mazzini by Giovanni Turini is installed in Central Park's Sheep Meadow, in Manhattan, New York. The sculpture was commissioned by a group of Italian-Americans and was dedicated in 1878 with a speech by American poet William Cullen Bryant. It sits on a granite pedestal, which includes two inscriptions that translate to "thought and action" and "God and the people". In 1994, the bust was restored by the Central Park Conservancy.

Category:Monuments and memorials in Manhattan

Category:1878 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Bronze sculptures in Central Park


Bust of Giuseppe Mazzini

Prompt: In Bust of Giuseppe Mazzini, how is the abstract discussed?

An outdoor bronze bust of Giuseppe Mazzini by Giovanni Turini is installed in Central Park's Sheep Meadow, in Manhattan, New York. The sculpture was commissioned by a group of Italian-Americans and was dedicated in 1878 with a speech by American poet William Cullen Bryant. It sits on a granite pedestal, which includes two inscriptions that translate to "thought and action" and "God and the people". In 1994, the bust was restored by the Central Park Conservancy.

Category:Monuments and memorials in Manhattan

Category:1878 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Bronze sculptures in Central Park


Rabboni (sculpture)

Prompt: Focus on Rabboni (sculpture) and explain the abstract.

Rabboni is a public artwork by American artist Gutzon Borglum, located Rock Creek Cemetery in Washington, D.C., United States. Rabboni was surveyed as part of the Smithsonian Save Outdoor Sculpture! survey in 1993. It is a tribute to Charles Matthews Ffoulke, prominent Washington banker and tapestry collector.

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: Explain the abstract of this artwork, Rabboni (sculpture).

Rabboni is a public artwork by American artist Gutzon Borglum, located Rock Creek Cemetery in Washington, D.C., United States. Rabboni was surveyed as part of the Smithsonian Save Outdoor Sculpture! survey in 1993. It is a tribute to Charles Matthews Ffoulke, prominent Washington banker and tapestry collector.

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: How does Rabboni (sculpture) explain its abstract?

Rabboni is a public artwork by American artist Gutzon Borglum, located Rock Creek Cemetery in Washington, D.C., United States. Rabboni was surveyed as part of the Smithsonian Save Outdoor Sculpture! survey in 1993. It is a tribute to Charles Matthews Ffoulke, prominent Washington banker and tapestry collector.

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: In Rabboni (sculpture), how is the abstract discussed?

Rabboni is a public artwork by American artist Gutzon Borglum, located Rock Creek Cemetery in Washington, D.C., United States. Rabboni was surveyed as part of the Smithsonian Save Outdoor Sculpture! survey in 1993. It is a tribute to Charles Matthews Ffoulke, prominent Washington banker and tapestry collector.

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: Focus on Rabboni (sculpture) and explain the Description.

This Realist sculpture depicts Mary Magdalene emerging from an alcove consisting of three granite blocks that surround her. Dressed in long robes and a cape which covers her head, her proper right hand is raised to lift the cape from her head. Her proper left arm is extended outward in front of her. Her proper right leg is stepping forward, to recognize Jesus Christ has risen from his tomb on Easter.The lower right of the sculpture is signed: Gutzon Borglum Sc / Gorham Co.The front of the sculptures base is inscribed: RABBONIOn the back of the center granite piece is an upper bronze plaque which is inscribed:THE END OF BIRTH IS DEATHTHE END OF DEATH IS LIFE ANDWHERFOR MOURNEST THOUA lower bronze plaque is inscribed:IN MEMORY OFCharles Mather Ffoulke1841–1909Sarah CushingHis Wife1852–1926AND THEIR CHILDRENHORACE CUSHING FFOULKE1876–1903GWENDOLINE FFOULKECHARLES MATHER FFOULKE II1889–1912ANDHORACE CUSHINGBELOVED FATHER OF SARAH CUSHING1819–1865

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: Explain the Description of this artwork, Rabboni (sculpture).

This Realist sculpture depicts Mary Magdalene emerging from an alcove consisting of three granite blocks that surround her. Dressed in long robes and a cape which covers her head, her proper right hand is raised to lift the cape from her head. Her proper left arm is extended outward in front of her. Her proper right leg is stepping forward, to recognize Jesus Christ has risen from his tomb on Easter.The lower right of the sculpture is signed: Gutzon Borglum Sc / Gorham Co.The front of the sculptures base is inscribed: RABBONIOn the back of the center granite piece is an upper bronze plaque which is inscribed:THE END OF BIRTH IS DEATHTHE END OF DEATH IS LIFE ANDWHERFOR MOURNEST THOUA lower bronze plaque is inscribed:IN MEMORY OFCharles Mather Ffoulke1841–1909Sarah CushingHis Wife1852–1926AND THEIR CHILDRENHORACE CUSHING FFOULKE1876–1903GWENDOLINE FFOULKECHARLES MATHER FFOULKE II1889–1912ANDHORACE CUSHINGBELOVED FATHER OF SARAH CUSHING1819–1865

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: How does Rabboni (sculpture) explain its Description?

This Realist sculpture depicts Mary Magdalene emerging from an alcove consisting of three granite blocks that surround her. Dressed in long robes and a cape which covers her head, her proper right hand is raised to lift the cape from her head. Her proper left arm is extended outward in front of her. Her proper right leg is stepping forward, to recognize Jesus Christ has risen from his tomb on Easter.The lower right of the sculpture is signed: Gutzon Borglum Sc / Gorham Co.The front of the sculptures base is inscribed: RABBONIOn the back of the center granite piece is an upper bronze plaque which is inscribed:THE END OF BIRTH IS DEATHTHE END OF DEATH IS LIFE ANDWHERFOR MOURNEST THOUA lower bronze plaque is inscribed:IN MEMORY OFCharles Mather Ffoulke1841–1909Sarah CushingHis Wife1852–1926AND THEIR CHILDRENHORACE CUSHING FFOULKE1876–1903GWENDOLINE FFOULKECHARLES MATHER FFOULKE II1889–1912ANDHORACE CUSHINGBELOVED FATHER OF SARAH CUSHING1819–1865

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: In Rabboni (sculpture), how is the Description discussed?

This Realist sculpture depicts Mary Magdalene emerging from an alcove consisting of three granite blocks that surround her. Dressed in long robes and a cape which covers her head, her proper right hand is raised to lift the cape from her head. Her proper left arm is extended outward in front of her. Her proper right leg is stepping forward, to recognize Jesus Christ has risen from his tomb on Easter.The lower right of the sculpture is signed: Gutzon Borglum Sc / Gorham Co.The front of the sculptures base is inscribed: RABBONIOn the back of the center granite piece is an upper bronze plaque which is inscribed:THE END OF BIRTH IS DEATHTHE END OF DEATH IS LIFE ANDWHERFOR MOURNEST THOUA lower bronze plaque is inscribed:IN MEMORY OFCharles Mather Ffoulke1841–1909Sarah CushingHis Wife1852–1926AND THEIR CHILDRENHORACE CUSHING FFOULKE1876–1903GWENDOLINE FFOULKECHARLES MATHER FFOULKE II1889–1912ANDHORACE CUSHINGBELOVED FATHER OF SARAH CUSHING1819–1865

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: Focus on Rabboni (sculpture) and explain the Information.

The title of this piece, Rabboni, is traditionally spelled "Rabbouni", which is Aramaic in origin [similar to Hebrew form of "rabbi"]. Upon seeing the resurrected Christ, Magdalene calls him "Rabbouni," per this Bible passage:John 20:16"Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabbouni; which is to say, dear Master". (KJV)Actress Edith Wynne Matthison was the model for the statue.

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: Explain the Information of this artwork, Rabboni (sculpture).

The title of this piece, Rabboni, is traditionally spelled "Rabbouni", which is Aramaic in origin [similar to Hebrew form of "rabbi"]. Upon seeing the resurrected Christ, Magdalene calls him "Rabbouni," per this Bible passage:John 20:16"Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabbouni; which is to say, dear Master". (KJV)Actress Edith Wynne Matthison was the model for the statue.

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: How does Rabboni (sculpture) explain its Information?

The title of this piece, Rabboni, is traditionally spelled "Rabbouni", which is Aramaic in origin [similar to Hebrew form of "rabbi"]. Upon seeing the resurrected Christ, Magdalene calls him "Rabbouni," per this Bible passage:John 20:16"Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabbouni; which is to say, dear Master". (KJV)Actress Edith Wynne Matthison was the model for the statue.

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


Rabboni (sculpture)

Prompt: In Rabboni (sculpture), how is the Information discussed?

The title of this piece, Rabboni, is traditionally spelled "Rabbouni", which is Aramaic in origin [similar to Hebrew form of "rabbi"]. Upon seeing the resurrected Christ, Magdalene calls him "Rabbouni," per this Bible passage:John 20:16"Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabbouni; which is to say, dear Master". (KJV)Actress Edith Wynne Matthison was the model for the statue.

Category:Bronze sculptures in Washington, D.C.

Category:Outdoor sculptures in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:Sculptures of women in Washington, D.C.


The Ruins of Holyrood Chapel

Prompt: Focus on The Ruins of Holyrood Chapel and explain the abstract.

The Ruins of Holyrood Chapel is an oil on canvas painting of the Holyrood Abbey completed around 1824 by the French artist Louis Daguerre. The painting measures 211 × 256.3 cm (83.1 × 100.9 in), and is exhibited at the Walker Art Gallery in Liverpool, England. The museum acquired it in 1864.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: Explain the abstract of this artwork, The Ruins of Holyrood Chapel.

The Ruins of Holyrood Chapel is an oil on canvas painting of the Holyrood Abbey completed around 1824 by the French artist Louis Daguerre. The painting measures 211 × 256.3 cm (83.1 × 100.9 in), and is exhibited at the Walker Art Gallery in Liverpool, England. The museum acquired it in 1864.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: How does The Ruins of Holyrood Chapel explain its abstract?

The Ruins of Holyrood Chapel is an oil on canvas painting of the Holyrood Abbey completed around 1824 by the French artist Louis Daguerre. The painting measures 211 × 256.3 cm (83.1 × 100.9 in), and is exhibited at the Walker Art Gallery in Liverpool, England. The museum acquired it in 1864.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: In The Ruins of Holyrood Chapel, how is the abstract discussed?

The Ruins of Holyrood Chapel is an oil on canvas painting of the Holyrood Abbey completed around 1824 by the French artist Louis Daguerre. The painting measures 211 × 256.3 cm (83.1 × 100.9 in), and is exhibited at the Walker Art Gallery in Liverpool, England. The museum acquired it in 1864.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: Focus on The Ruins of Holyrood Chapel and explain the Background.

Holyrood Abbey is located next to the Palace of Holyroodhouse, built by James IV of Scotland in 1501, which became the official residence of the Monarch of the United Kingdom situated in Edinburgh, Scotland.  The Abbey started operation in 1128, with various rounds of destruction and reconstruction over the centuries.  It has been used as the Parliament of Scotland, the site of coronations, royal weddings, and the location of royal tombs. During a storm in 1768 the roof collapsed, leaving the abbey as it currently stands. Daguerre, who worked at the time as a stage designer for the theatre, was enamored by dioramas and the contrast of light and shadow. Although it is not known whether Daguerre visited the abbey in person, he created and exhibited a diorama of Holyrood Abbey (along with many other dioramas) in Paris around 1824. The diorama measured 70 feet (21 m) wide. When lit from behind, a small figure could be seen inside the chapel.Real-life ruins inspired Daguerre, and he used the Holyrood Abbey ruins as a source of inspiration for two paintings, both with the same title. The first painting had the same figure from the diorama visiting the grave of her friend. Daguerre was able to study the way the light hit the interior of the ruins by emulating the scenario with his diorama.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: Explain the Background of this artwork, The Ruins of Holyrood Chapel.

Holyrood Abbey is located next to the Palace of Holyroodhouse, built by James IV of Scotland in 1501, which became the official residence of the Monarch of the United Kingdom situated in Edinburgh, Scotland.  The Abbey started operation in 1128, with various rounds of destruction and reconstruction over the centuries.  It has been used as the Parliament of Scotland, the site of coronations, royal weddings, and the location of royal tombs. During a storm in 1768 the roof collapsed, leaving the abbey as it currently stands. Daguerre, who worked at the time as a stage designer for the theatre, was enamored by dioramas and the contrast of light and shadow. Although it is not known whether Daguerre visited the abbey in person, he created and exhibited a diorama of Holyrood Abbey (along with many other dioramas) in Paris around 1824. The diorama measured 70 feet (21 m) wide. When lit from behind, a small figure could be seen inside the chapel.Real-life ruins inspired Daguerre, and he used the Holyrood Abbey ruins as a source of inspiration for two paintings, both with the same title. The first painting had the same figure from the diorama visiting the grave of her friend. Daguerre was able to study the way the light hit the interior of the ruins by emulating the scenario with his diorama.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: How does The Ruins of Holyrood Chapel explain its Background?

Holyrood Abbey is located next to the Palace of Holyroodhouse, built by James IV of Scotland in 1501, which became the official residence of the Monarch of the United Kingdom situated in Edinburgh, Scotland.  The Abbey started operation in 1128, with various rounds of destruction and reconstruction over the centuries.  It has been used as the Parliament of Scotland, the site of coronations, royal weddings, and the location of royal tombs. During a storm in 1768 the roof collapsed, leaving the abbey as it currently stands. Daguerre, who worked at the time as a stage designer for the theatre, was enamored by dioramas and the contrast of light and shadow. Although it is not known whether Daguerre visited the abbey in person, he created and exhibited a diorama of Holyrood Abbey (along with many other dioramas) in Paris around 1824. The diorama measured 70 feet (21 m) wide. When lit from behind, a small figure could be seen inside the chapel.Real-life ruins inspired Daguerre, and he used the Holyrood Abbey ruins as a source of inspiration for two paintings, both with the same title. The first painting had the same figure from the diorama visiting the grave of her friend. Daguerre was able to study the way the light hit the interior of the ruins by emulating the scenario with his diorama.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: In The Ruins of Holyrood Chapel, how is the Background discussed?

Holyrood Abbey is located next to the Palace of Holyroodhouse, built by James IV of Scotland in 1501, which became the official residence of the Monarch of the United Kingdom situated in Edinburgh, Scotland.  The Abbey started operation in 1128, with various rounds of destruction and reconstruction over the centuries.  It has been used as the Parliament of Scotland, the site of coronations, royal weddings, and the location of royal tombs. During a storm in 1768 the roof collapsed, leaving the abbey as it currently stands. Daguerre, who worked at the time as a stage designer for the theatre, was enamored by dioramas and the contrast of light and shadow. Although it is not known whether Daguerre visited the abbey in person, he created and exhibited a diorama of Holyrood Abbey (along with many other dioramas) in Paris around 1824. The diorama measured 70 feet (21 m) wide. When lit from behind, a small figure could be seen inside the chapel.Real-life ruins inspired Daguerre, and he used the Holyrood Abbey ruins as a source of inspiration for two paintings, both with the same title. The first painting had the same figure from the diorama visiting the grave of her friend. Daguerre was able to study the way the light hit the interior of the ruins by emulating the scenario with his diorama.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: Focus on The Ruins of Holyrood Chapel and explain the Description.

The painting depicts the ruins of Holyrood Abbey during a moonlit scene, which was a popular attraction (in real life) for visitors to the abbey at the time. The perspective and scale of the ruins was altered slightly to fit the walls onto the canvas.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: Explain the Description of this artwork, The Ruins of Holyrood Chapel.

The painting depicts the ruins of Holyrood Abbey during a moonlit scene, which was a popular attraction (in real life) for visitors to the abbey at the time. The perspective and scale of the ruins was altered slightly to fit the walls onto the canvas.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: How does The Ruins of Holyrood Chapel explain its Description?

The painting depicts the ruins of Holyrood Abbey during a moonlit scene, which was a popular attraction (in real life) for visitors to the abbey at the time. The perspective and scale of the ruins was altered slightly to fit the walls onto the canvas.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: In The Ruins of Holyrood Chapel, how is the Description discussed?

The painting depicts the ruins of Holyrood Abbey during a moonlit scene, which was a popular attraction (in real life) for visitors to the abbey at the time. The perspective and scale of the ruins was altered slightly to fit the walls onto the canvas.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: Focus on The Ruins of Holyrood Chapel and explain the In Literature.

Letitia Elizabeth Landon's poem Holyrood was written in response to a visit to the diorama in Regent's Park, London, in 1825.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: Explain the In Literature of this artwork, The Ruins of Holyrood Chapel.

Letitia Elizabeth Landon's poem Holyrood was written in response to a visit to the diorama in Regent's Park, London, in 1825.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: How does The Ruins of Holyrood Chapel explain its In Literature?

Letitia Elizabeth Landon's poem Holyrood was written in response to a visit to the diorama in Regent's Park, London, in 1825.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: In The Ruins of Holyrood Chapel, how is the In Literature discussed?

Letitia Elizabeth Landon's poem Holyrood was written in response to a visit to the diorama in Regent's Park, London, in 1825.

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: Focus on The Ruins of Holyrood Chapel and explain the Mendelssohn.

In 1829, a young Felix Mendelssohn embarked on a concert tour which brought him to London. He then travelled north to tour Scotland, and visited Hollyrood Chapel, where he found the inspiration for his Symphony No. 3 in A Minor, Op. 56 "Scottish".

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: Explain the Mendelssohn of this artwork, The Ruins of Holyrood Chapel.

In 1829, a young Felix Mendelssohn embarked on a concert tour which brought him to London. He then travelled north to tour Scotland, and visited Hollyrood Chapel, where he found the inspiration for his Symphony No. 3 in A Minor, Op. 56 "Scottish".

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: How does The Ruins of Holyrood Chapel explain its Mendelssohn?

In 1829, a young Felix Mendelssohn embarked on a concert tour which brought him to London. He then travelled north to tour Scotland, and visited Hollyrood Chapel, where he found the inspiration for his Symphony No. 3 in A Minor, Op. 56 "Scottish".

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


The Ruins of Holyrood Chapel

Prompt: In The Ruins of Holyrood Chapel, how is the Mendelssohn discussed?

In 1829, a young Felix Mendelssohn embarked on a concert tour which brought him to London. He then travelled north to tour Scotland, and visited Hollyrood Chapel, where he found the inspiration for his Symphony No. 3 in A Minor, Op. 56 "Scottish".

File:Holyrood Palace, James Valentine, 1890–1900.jpg

Holyrood Palace as viewed circa 1900. The abbey is on the left.


Statue of William Jennings Bryan

Prompt: Focus on Statue of William Jennings Bryan and explain the abstract.

William Jennings Bryan is a bronze sculpture depicting the American politician of the same name by Rudulph Evans, which was installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Nebraska in 1937.In 2019, a statue of Standing Bear replaced the statue of Bryan in the Statuary Hall. The Bryan statue was relocated to the Nebraska National Guard Museum in Seward, Nebraska.

Category:Monuments and memorials in Nebraska

Category:Relocated buildings and structures in the United States

Category:Formerly in the National Statuary Hall Collection

Category:1937 establishments in Washington, D.C.

Category:Buildings and structures in Seward County, Nebraska


Statue of William Jennings Bryan

Prompt: Explain the abstract of this artwork, Statue of William Jennings Bryan.

William Jennings Bryan is a bronze sculpture depicting the American politician of the same name by Rudulph Evans, which was installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Nebraska in 1937.In 2019, a statue of Standing Bear replaced the statue of Bryan in the Statuary Hall. The Bryan statue was relocated to the Nebraska National Guard Museum in Seward, Nebraska.

Category:Monuments and memorials in Nebraska

Category:Relocated buildings and structures in the United States

Category:Formerly in the National Statuary Hall Collection

Category:1937 establishments in Washington, D.C.

Category:Buildings and structures in Seward County, Nebraska


Statue of William Jennings Bryan

Prompt: How does Statue of William Jennings Bryan explain its abstract?

William Jennings Bryan is a bronze sculpture depicting the American politician of the same name by Rudulph Evans, which was installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Nebraska in 1937.In 2019, a statue of Standing Bear replaced the statue of Bryan in the Statuary Hall. The Bryan statue was relocated to the Nebraska National Guard Museum in Seward, Nebraska.

Category:Monuments and memorials in Nebraska

Category:Relocated buildings and structures in the United States

Category:Formerly in the National Statuary Hall Collection

Category:1937 establishments in Washington, D.C.

Category:Buildings and structures in Seward County, Nebraska


Statue of William Jennings Bryan

Prompt: In Statue of William Jennings Bryan, how is the abstract discussed?

William Jennings Bryan is a bronze sculpture depicting the American politician of the same name by Rudulph Evans, which was installed in the United States Capitol's National Statuary Hall, in Washington, D.C., as part of the National Statuary Hall Collection. The statue was gifted by the U.S. state of Nebraska in 1937.In 2019, a statue of Standing Bear replaced the statue of Bryan in the Statuary Hall. The Bryan statue was relocated to the Nebraska National Guard Museum in Seward, Nebraska.

Category:Monuments and memorials in Nebraska

Category:Relocated buildings and structures in the United States

Category:Formerly in the National Statuary Hall Collection

Category:1937 establishments in Washington, D.C.

Category:Buildings and structures in Seward County, Nebraska


Prompt: Focus on Adoration of the Magi (Bosch, Philadelphia) and explain the abstract.

The Adoration of the Magi is an oil painting on wood panel attributed to the workshop of Netherlandish artist Hieronymus Bosch, executed around 1499. It is housed in the Philadelphia Museum of Art, USA. The museum's catalog assign it to around 1518, as having been finished by Bosch's workshop. According to Dendochronologic research, it could have been painted in 1493–1499.

Category:Paintings of the Adoration of the Magi

Category:Paintings in the Philadelphia Museum of Art


Prompt: Explain the abstract of this artwork, Adoration of the Magi (Bosch, Philadelphia).

The Adoration of the Magi is an oil painting on wood panel attributed to the workshop of Netherlandish artist Hieronymus Bosch, executed around 1499. It is housed in the Philadelphia Museum of Art, USA. The museum's catalog assign it to around 1518, as having been finished by Bosch's workshop. According to Dendochronologic research, it could have been painted in 1493–1499.

Category:Paintings of the Adoration of the Magi

Category:Paintings in the Philadelphia Museum of Art


Prompt: How does Adoration of the Magi (Bosch, Philadelphia) explain its abstract?

The Adoration of the Magi is an oil painting on wood panel attributed to the workshop of Netherlandish artist Hieronymus Bosch, executed around 1499. It is housed in the Philadelphia Museum of Art, USA. The museum's catalog assign it to around 1518, as having been finished by Bosch's workshop. According to Dendochronologic research, it could have been painted in 1493–1499.

Category:Paintings of the Adoration of the Magi

Category:Paintings in the Philadelphia Museum of Art


Prompt: In Adoration of the Magi (Bosch, Philadelphia), how is the abstract discussed?

The Adoration of the Magi is an oil painting on wood panel attributed to the workshop of Netherlandish artist Hieronymus Bosch, executed around 1499. It is housed in the Philadelphia Museum of Art, USA. The museum's catalog assign it to around 1518, as having been finished by Bosch's workshop. According to Dendochronologic research, it could have been painted in 1493–1499.

Category:Paintings of the Adoration of the Magi

Category:Paintings in the Philadelphia Museum of Art


Prompt: Focus on Adoration of the Magi (Bosch, Philadelphia) and explain the Description.

The painting is a traditional representation of the Adoration of the Magi theme, similar to other Bosch Adoration of the Magi of New York, although reversed. Mary is at left, taking shelter under a small hut (which has clear perspective errors), while the three Magi bring their gifts to Jesus. As common in these pictures, Balthazar is kneeling with his crown lying on the ground, while the other two speak to each other.The background is more original. It depicts Joseph scratching his head, with a table represented in a wide-angle perspective; behind the hut are the ox and the donkey and two men armed with arrows.Hungarian art historian Charles de Tolnay explained the more archaic elements as a citation of a miniature of the Utrecht Missal (1425–1430), which also includes, for example, the cracked wooden pillar of the hut or the Manna fall representation in Gaspar's sleeve.

Category:Paintings of the Adoration of the Magi

Category:Paintings in the Philadelphia Museum of Art


Prompt: Explain the Description of this artwork, Adoration of the Magi (Bosch, Philadelphia).

The painting is a traditional representation of the Adoration of the Magi theme, similar to other Bosch Adoration of the Magi of New York, although reversed. Mary is at left, taking shelter under a small hut (which has clear perspective errors), while the three Magi bring their gifts to Jesus. As common in these pictures, Balthazar is kneeling with his crown lying on the ground, while the other two speak to each other.The background is more original. It depicts Joseph scratching his head, with a table represented in a wide-angle perspective; behind the hut are the ox and the donkey and two men armed with arrows.Hungarian art historian Charles de Tolnay explained the more archaic elements as a citation of a miniature of the Utrecht Missal (1425–1430), which also includes, for example, the cracked wooden pillar of the hut or the Manna fall representation in Gaspar's sleeve.

Category:Paintings of the Adoration of the Magi

Category:Paintings in the Philadelphia Museum of Art


Prompt: How does Adoration of the Magi (Bosch, Philadelphia) explain its Description?

The painting is a traditional representation of the Adoration of the Magi theme, similar to other Bosch Adoration of the Magi of New York, although reversed. Mary is at left, taking shelter under a small hut (which has clear perspective errors), while the three Magi bring their gifts to Jesus. As common in these pictures, Balthazar is kneeling with his crown lying on the ground, while the other two speak to each other.The background is more original. It depicts Joseph scratching his head, with a table represented in a wide-angle perspective; behind the hut are the ox and the donkey and two men armed with arrows.Hungarian art historian Charles de Tolnay explained the more archaic elements as a citation of a miniature of the Utrecht Missal (1425–1430), which also includes, for example, the cracked wooden pillar of the hut or the Manna fall representation in Gaspar's sleeve.

Category:Paintings of the Adoration of the Magi

Category:Paintings in the Philadelphia Museum of Art


Prompt: In Adoration of the Magi (Bosch, Philadelphia), how is the Description discussed?

The painting is a traditional representation of the Adoration of the Magi theme, similar to other Bosch Adoration of the Magi of New York, although reversed. Mary is at left, taking shelter under a small hut (which has clear perspective errors), while the three Magi bring their gifts to Jesus. As common in these pictures, Balthazar is kneeling with his crown lying on the ground, while the other two speak to each other.The background is more original. It depicts Joseph scratching his head, with a table represented in a wide-angle perspective; behind the hut are the ox and the donkey and two men armed with arrows.Hungarian art historian Charles de Tolnay explained the more archaic elements as a citation of a miniature of the Utrecht Missal (1425–1430), which also includes, for example, the cracked wooden pillar of the hut or the Manna fall representation in Gaspar's sleeve.

Category:Paintings of the Adoration of the Magi

Category:Paintings in the Philadelphia Museum of Art


Prompt: Focus on Flight into Egypt (Henry O. Tanner painting, 1899) and explain the abstract.

Flight into Egypt was a painting by Henry Ossawa Tanner, created in Paris about 1899 and displayed at the Carnegie Institute that year, along with Judas. The painting, a religious work, is an example of Tanner's symbolist paintings. The 1899 version was his first version of the painting.The painting shows the Holy Family fleeing to Egypt, to save the life of Jesus. The painting's themes were important to Tanner, and he would paint the story as many as 15 times across his lifetime. Tanner's background was in the African Methodist Episcopal (A.M.E.), his father Benjamin Tucker Tanner a bishop in the church who wanted his son to follow into the ministry. When Tanner persistently chose to paint, his father wanted him to pursue religious themes, to use his paintings as his ministerial voice. Those religious interests included standing up for African Americans,  who were living under prejudice.Tanner painted Flight into Egypt in such a way as to give it universal appeal. Thematically it stood up for the oppressed,  through its theme of good people fleeing persecution. Further, its characters, were rendered indistinctly in the twilight,  enough that it was difficult to pin them down as being from a particular race or ethnic group; people could imagine their own in the painting.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: Explain the abstract of this artwork, Flight into Egypt (Henry O. Tanner painting, 1899).

Flight into Egypt was a painting by Henry Ossawa Tanner, created in Paris about 1899 and displayed at the Carnegie Institute that year, along with Judas. The painting, a religious work, is an example of Tanner's symbolist paintings. The 1899 version was his first version of the painting.The painting shows the Holy Family fleeing to Egypt, to save the life of Jesus. The painting's themes were important to Tanner, and he would paint the story as many as 15 times across his lifetime. Tanner's background was in the African Methodist Episcopal (A.M.E.), his father Benjamin Tucker Tanner a bishop in the church who wanted his son to follow into the ministry. When Tanner persistently chose to paint, his father wanted him to pursue religious themes, to use his paintings as his ministerial voice. Those religious interests included standing up for African Americans,  who were living under prejudice.Tanner painted Flight into Egypt in such a way as to give it universal appeal. Thematically it stood up for the oppressed,  through its theme of good people fleeing persecution. Further, its characters, were rendered indistinctly in the twilight,  enough that it was difficult to pin them down as being from a particular race or ethnic group; people could imagine their own in the painting.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: How does Flight into Egypt (Henry O. Tanner painting, 1899) explain its abstract?

Flight into Egypt was a painting by Henry Ossawa Tanner, created in Paris about 1899 and displayed at the Carnegie Institute that year, along with Judas. The painting, a religious work, is an example of Tanner's symbolist paintings. The 1899 version was his first version of the painting.The painting shows the Holy Family fleeing to Egypt, to save the life of Jesus. The painting's themes were important to Tanner, and he would paint the story as many as 15 times across his lifetime. Tanner's background was in the African Methodist Episcopal (A.M.E.), his father Benjamin Tucker Tanner a bishop in the church who wanted his son to follow into the ministry. When Tanner persistently chose to paint, his father wanted him to pursue religious themes, to use his paintings as his ministerial voice. Those religious interests included standing up for African Americans,  who were living under prejudice.Tanner painted Flight into Egypt in such a way as to give it universal appeal. Thematically it stood up for the oppressed,  through its theme of good people fleeing persecution. Further, its characters, were rendered indistinctly in the twilight,  enough that it was difficult to pin them down as being from a particular race or ethnic group; people could imagine their own in the painting.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: In Flight into Egypt (Henry O. Tanner painting, 1899), how is the abstract discussed?

Flight into Egypt was a painting by Henry Ossawa Tanner, created in Paris about 1899 and displayed at the Carnegie Institute that year, along with Judas. The painting, a religious work, is an example of Tanner's symbolist paintings. The 1899 version was his first version of the painting.The painting shows the Holy Family fleeing to Egypt, to save the life of Jesus. The painting's themes were important to Tanner, and he would paint the story as many as 15 times across his lifetime. Tanner's background was in the African Methodist Episcopal (A.M.E.), his father Benjamin Tucker Tanner a bishop in the church who wanted his son to follow into the ministry. When Tanner persistently chose to paint, his father wanted him to pursue religious themes, to use his paintings as his ministerial voice. Those religious interests included standing up for African Americans,  who were living under prejudice.Tanner painted Flight into Egypt in such a way as to give it universal appeal. Thematically it stood up for the oppressed,  through its theme of good people fleeing persecution. Further, its characters, were rendered indistinctly in the twilight,  enough that it was difficult to pin them down as being from a particular race or ethnic group; people could imagine their own in the painting.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: Focus on Flight into Egypt (Henry O. Tanner painting, 1899) and explain the Symbolist painting.

See: Precursors and origins of Symbolism and Symbolist paintingTanner painted in Paris during the time when symbolism was becoming widespread. The movement in literature arose in the 1860s and at the end of the 19th century, Symbolist painting was one of the main artistic manifestations. Symbolists "sought represent absolute truths symbolically through language and metaphorical images". According to Tanner's son Jesse Tanner, his father attempted to use his religious paintings to trigger a "receptive state of mind", that the paintings were meant to help viewers find communion with God.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: Explain the Symbolist painting of this artwork, Flight into Egypt (Henry O. Tanner painting, 1899).

See: Precursors and origins of Symbolism and Symbolist paintingTanner painted in Paris during the time when symbolism was becoming widespread. The movement in literature arose in the 1860s and at the end of the 19th century, Symbolist painting was one of the main artistic manifestations. Symbolists "sought represent absolute truths symbolically through language and metaphorical images". According to Tanner's son Jesse Tanner, his father attempted to use his religious paintings to trigger a "receptive state of mind", that the paintings were meant to help viewers find communion with God.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: How does Flight into Egypt (Henry O. Tanner painting, 1899) explain its Symbolist painting?

See: Precursors and origins of Symbolism and Symbolist paintingTanner painted in Paris during the time when symbolism was becoming widespread. The movement in literature arose in the 1860s and at the end of the 19th century, Symbolist painting was one of the main artistic manifestations. Symbolists "sought represent absolute truths symbolically through language and metaphorical images". According to Tanner's son Jesse Tanner, his father attempted to use his religious paintings to trigger a "receptive state of mind", that the paintings were meant to help viewers find communion with God.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: In Flight into Egypt (Henry O. Tanner painting, 1899), how is the Symbolist painting discussed?

See: Precursors and origins of Symbolism and Symbolist paintingTanner painted in Paris during the time when symbolism was becoming widespread. The movement in literature arose in the 1860s and at the end of the 19th century, Symbolist painting was one of the main artistic manifestations. Symbolists "sought represent absolute truths symbolically through language and metaphorical images". According to Tanner's son Jesse Tanner, his father attempted to use his religious paintings to trigger a "receptive state of mind", that the paintings were meant to help viewers find communion with God.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: In the context of Flight into Egypt (Henry O. Tanner painting, 1899), explain the Symbolic use of color and the Symbolist painting.

Tanner used nocturnal light to "give an aura of mystery" to his subjects. The effect was to help viewers suspend a modern outlook and enter Tanner's biblical world. Light was also an "expression of God" in Tanner's paintings, offering comfort, guidance and safety.Tanner used color symbolically. In doing this,  he joined contemporary Symbolists in the late 19th and early 20th centuries such as Franz von Stück or Johann Wolfgang von Goethe (Theory of Colours), who used color for its "psychological qualitities."  Tanner's son Jesse described Tanner's use of "spiritual colors", saying that his father linked spiritual colors with spiritual themes. In Flight into Egypt, Tanner used blues and greens. Stück placed blues as affecting "mystery, eternity and calm." In a similarly colored work,  Angels Appearing before the Shepherds, colored blue, green and shades of gray, his colors were described as "exuding the tranquility of God’s spiritual grace."

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: Explain the Symbolic use of color about the Symbolist painting of this artwork, Flight into Egypt (Henry O. Tanner painting, 1899).

Tanner used nocturnal light to "give an aura of mystery" to his subjects. The effect was to help viewers suspend a modern outlook and enter Tanner's biblical world. Light was also an "expression of God" in Tanner's paintings, offering comfort, guidance and safety.Tanner used color symbolically. In doing this,  he joined contemporary Symbolists in the late 19th and early 20th centuries such as Franz von Stück or Johann Wolfgang von Goethe (Theory of Colours), who used color for its "psychological qualitities."  Tanner's son Jesse described Tanner's use of "spiritual colors", saying that his father linked spiritual colors with spiritual themes. In Flight into Egypt, Tanner used blues and greens. Stück placed blues as affecting "mystery, eternity and calm." In a similarly colored work,  Angels Appearing before the Shepherds, colored blue, green and shades of gray, his colors were described as "exuding the tranquility of God’s spiritual grace."

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: In Flight into Egypt (Henry O. Tanner painting, 1899), how is the Symbolic use of color of the Symbolist painting explained?

Tanner used nocturnal light to "give an aura of mystery" to his subjects. The effect was to help viewers suspend a modern outlook and enter Tanner's biblical world. Light was also an "expression of God" in Tanner's paintings, offering comfort, guidance and safety.Tanner used color symbolically. In doing this,  he joined contemporary Symbolists in the late 19th and early 20th centuries such as Franz von Stück or Johann Wolfgang von Goethe (Theory of Colours), who used color for its "psychological qualitities."  Tanner's son Jesse described Tanner's use of "spiritual colors", saying that his father linked spiritual colors with spiritual themes. In Flight into Egypt, Tanner used blues and greens. Stück placed blues as affecting "mystery, eternity and calm." In a similarly colored work,  Angels Appearing before the Shepherds, colored blue, green and shades of gray, his colors were described as "exuding the tranquility of God’s spiritual grace."

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: Describe the characteristics of the Symbolic use of color in Flight into Egypt (Henry O. Tanner painting, 1899)'s Symbolist painting.

Tanner used nocturnal light to "give an aura of mystery" to his subjects. The effect was to help viewers suspend a modern outlook and enter Tanner's biblical world. Light was also an "expression of God" in Tanner's paintings, offering comfort, guidance and safety.Tanner used color symbolically. In doing this,  he joined contemporary Symbolists in the late 19th and early 20th centuries such as Franz von Stück or Johann Wolfgang von Goethe (Theory of Colours), who used color for its "psychological qualitities."  Tanner's son Jesse described Tanner's use of "spiritual colors", saying that his father linked spiritual colors with spiritual themes. In Flight into Egypt, Tanner used blues and greens. Stück placed blues as affecting "mystery, eternity and calm." In a similarly colored work,  Angels Appearing before the Shepherds, colored blue, green and shades of gray, his colors were described as "exuding the tranquility of God’s spiritual grace."

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: In the context of Flight into Egypt (Henry O. Tanner painting, 1899), explain the Holy Family, symbols of humility and the Symbolist painting.

Besides his use of color symbolism, Tanner used impressionist methods,  not filling in the details on the people, leaving it up to the viewer's imagination. He used "faceless figures" in dim light to represent Mary and Joseph fleeing for their safety. Mary and Joseph and the infant Jesus, themselves symbols as the Holy Family are not portrayed in an elevated and idealized manner but as "normal folk", "generalized and demysticized" people with whom anyone could identify.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: Explain the Holy Family, symbols of humility about the Symbolist painting of this artwork, Flight into Egypt (Henry O. Tanner painting, 1899).

Besides his use of color symbolism, Tanner used impressionist methods,  not filling in the details on the people, leaving it up to the viewer's imagination. He used "faceless figures" in dim light to represent Mary and Joseph fleeing for their safety. Mary and Joseph and the infant Jesus, themselves symbols as the Holy Family are not portrayed in an elevated and idealized manner but as "normal folk", "generalized and demysticized" people with whom anyone could identify.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: In Flight into Egypt (Henry O. Tanner painting, 1899), how is the Holy Family, symbols of humility of the Symbolist painting explained?

Besides his use of color symbolism, Tanner used impressionist methods,  not filling in the details on the people, leaving it up to the viewer's imagination. He used "faceless figures" in dim light to represent Mary and Joseph fleeing for their safety. Mary and Joseph and the infant Jesus, themselves symbols as the Holy Family are not portrayed in an elevated and idealized manner but as "normal folk", "generalized and demysticized" people with whom anyone could identify.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Prompt: Describe the characteristics of the Holy Family, symbols of humility in Flight into Egypt (Henry O. Tanner painting, 1899)'s Symbolist painting.

Besides his use of color symbolism, Tanner used impressionist methods,  not filling in the details on the people, leaving it up to the viewer's imagination. He used "faceless figures" in dim light to represent Mary and Joseph fleeing for their safety. Mary and Joseph and the infant Jesus, themselves symbols as the Holy Family are not portrayed in an elevated and idealized manner but as "normal folk", "generalized and demysticized" people with whom anyone could identify.

Category:Paintings of the Flight into Egypt

List of paintings by Henry Ossawa Tanner

Category:Paintings by Henry Ossawa Tanner


Penitent Magdalene (El Greco)

Prompt: Focus on Penitent Magdalene (El Greco) and explain the abstract.

Penitent Magdalene is a 1576–1578 painting by El Greco depicting Mary Magdalene, produced during his first period in Toledo and showing the major influence of Titian on him at that time. It is now in the Museum of Fine Arts in Budapest.

Category:Paintings in the Museum of Fine Arts (Budapest)

A different composition on the subject from 1585–1590

:File:El Greco - Mary Magdalen in Penitence - WGA10476.jpg

:File:The Repentant Magdalen, circa 1577, by El Greco (1541-1614) - IMG 7417.JPG

:File:Penitent Magdalene, El Greco, c. 1580-1585 - Nelson-Atkins Museum of Art - DSC08651.JPG


Penitent Magdalene (El Greco)

Prompt: Explain the abstract of this artwork, Penitent Magdalene (El Greco).

Penitent Magdalene is a 1576–1578 painting by El Greco depicting Mary Magdalene, produced during his first period in Toledo and showing the major influence of Titian on him at that time. It is now in the Museum of Fine Arts in Budapest.

Category:Paintings in the Museum of Fine Arts (Budapest)

A different composition on the subject from 1585–1590

:File:El Greco - Mary Magdalen in Penitence - WGA10476.jpg

:File:The Repentant Magdalen, circa 1577, by El Greco (1541-1614) - IMG 7417.JPG

:File:Penitent Magdalene, El Greco, c. 1580-1585 - Nelson-Atkins Museum of Art - DSC08651.JPG


Penitent Magdalene (El Greco)

Prompt: How does Penitent Magdalene (El Greco) explain its abstract?

Penitent Magdalene is a 1576–1578 painting by El Greco depicting Mary Magdalene, produced during his first period in Toledo and showing the major influence of Titian on him at that time. It is now in the Museum of Fine Arts in Budapest.

Category:Paintings in the Museum of Fine Arts (Budapest)

A different composition on the subject from 1585–1590

:File:El Greco - Mary Magdalen in Penitence - WGA10476.jpg

:File:The Repentant Magdalen, circa 1577, by El Greco (1541-1614) - IMG 7417.JPG

:File:Penitent Magdalene, El Greco, c. 1580-1585 - Nelson-Atkins Museum of Art - DSC08651.JPG


Penitent Magdalene (El Greco)

Prompt: In Penitent Magdalene (El Greco), how is the abstract discussed?

Penitent Magdalene is a 1576–1578 painting by El Greco depicting Mary Magdalene, produced during his first period in Toledo and showing the major influence of Titian on him at that time. It is now in the Museum of Fine Arts in Budapest.

Category:Paintings in the Museum of Fine Arts (Budapest)

A different composition on the subject from 1585–1590

:File:El Greco - Mary Magdalen in Penitence - WGA10476.jpg

:File:The Repentant Magdalen, circa 1577, by El Greco (1541-1614) - IMG 7417.JPG

:File:Penitent Magdalene, El Greco, c. 1580-1585 - Nelson-Atkins Museum of Art - DSC08651.JPG


Penitent Magdalene (El Greco)

Prompt: Focus on Penitent Magdalene (El Greco) and explain the Variants.

A c. 1577 version is now in the Worcester Art Museum, whilst a later c.1580–1585 version is in the Nelson-Atkins Museum of Art in Kansas City. A different composition on the subject from 1585–1590 is in the Cau Ferrat Museum.

Category:Paintings in the Museum of Fine Arts (Budapest)

:File:El Greco - Mary Magdalen in Penitence - WGA10476.jpg

:File:The Repentant Magdalen, circa 1577, by El Greco (1541-1614) - IMG 7417.JPG

:File:Penitent Magdalene, El Greco, c. 1580-1585 - Nelson-Atkins Museum of Art - DSC08651.JPG


Penitent Magdalene (El Greco)

Prompt: Explain the Variants of this artwork, Penitent Magdalene (El Greco).

A c. 1577 version is now in the Worcester Art Museum, whilst a later c.1580–1585 version is in the Nelson-Atkins Museum of Art in Kansas City. A different composition on the subject from 1585–1590 is in the Cau Ferrat Museum.

Category:Paintings in the Museum of Fine Arts (Budapest)

:File:El Greco - Mary Magdalen in Penitence - WGA10476.jpg

:File:The Repentant Magdalen, circa 1577, by El Greco (1541-1614) - IMG 7417.JPG

:File:Penitent Magdalene, El Greco, c. 1580-1585 - Nelson-Atkins Museum of Art - DSC08651.JPG


Penitent Magdalene (El Greco)

Prompt: How does Penitent Magdalene (El Greco) explain its Variants?

A c. 1577 version is now in the Worcester Art Museum, whilst a later c.1580–1585 version is in the Nelson-Atkins Museum of Art in Kansas City. A different composition on the subject from 1585–1590 is in the Cau Ferrat Museum.

Category:Paintings in the Museum of Fine Arts (Budapest)

:File:El Greco - Mary Magdalen in Penitence - WGA10476.jpg

:File:The Repentant Magdalen, circa 1577, by El Greco (1541-1614) - IMG 7417.JPG

:File:Penitent Magdalene, El Greco, c. 1580-1585 - Nelson-Atkins Museum of Art - DSC08651.JPG


Penitent Magdalene (El Greco)

Prompt: In Penitent Magdalene (El Greco), how is the Variants discussed?

A c. 1577 version is now in the Worcester Art Museum, whilst a later c.1580–1585 version is in the Nelson-Atkins Museum of Art in Kansas City. A different composition on the subject from 1585–1590 is in the Cau Ferrat Museum.

Category:Paintings in the Museum of Fine Arts (Budapest)

:File:El Greco - Mary Magdalen in Penitence - WGA10476.jpg

:File:The Repentant Magdalen, circa 1577, by El Greco (1541-1614) - IMG 7417.JPG

:File:Penitent Magdalene, El Greco, c. 1580-1585 - Nelson-Atkins Museum of Art - DSC08651.JPG


Saint Mark (Tzanes)

Prompt: Focus on Saint Mark (Tzanes) and explain the abstract.

Saint Mark is a tempera-on-wood painting created c. 1657 by Emmanuel Tzanes.  Tzanes was a Cretan painter who migrated to Corfu and Venice.  He settled in Venice with his brothers Konstantinos Tzanes and poet Marinos Tzanes.  Konstantinos was a famous painter.  Their combined existing works number over 150.  Emmanuel replaced Greek painter Philotheos Skoufos as the priest of San Giorgio dei Greci.Saint Mark is the patron saint of Venice.  His remains were moved to Venice from Egypt. Countless Italian painters painted the subject matter.  He was considered one of the first historiographers of the new Christian religion.  He was associated with the Apostle Peter.  His gospel consists of collections of miracle stories, controversy stories, parables, and a passion narrative.  He founded the first church of Alexandria Egypt.Saint Mark is often depicted with a Lion.  The winged Lion of Saint Mark is a symbol of Venice.  The symbol also represents the Greek Orthodox Church of Alexandria.  Vittore Carpaccio painted the Lion of Saint Mark.  Venetian masters Titian and Tintoretto both created paintings of Saint Mark.  Titian's St. Mark Enthroned and Tintoretto's Finding of the Body of Saint Mark were symbols of Venice.  Andrea Mantegna also painted his own notable version of St Mark.St Mark's Basilica is one of the most important churches in Venice.  The church stands as an emblem of Saint Mark and the traditional Greek Italian Byzantine style.  Two prominent greek painters affiliated with St Mark's Basilica were Thomas Bathas and Nikolaos Philanthropinos.  Tzanes's painting is a testimony of the painter's loyalty to his new home.  The painting is currently at the Benaki Museum in Athens Greece.   The painting was a Gift from Damianos Kyriazis.

Greek Orthodox Patriarchate of Alexandria

The Incredulity of Saint Thomas (Tzanes)

Category:Paintings of Mark the Evangelist


Saint Mark (Tzanes)

Prompt: Explain the abstract of this artwork, Saint Mark (Tzanes).

Saint Mark is a tempera-on-wood painting created c. 1657 by Emmanuel Tzanes.  Tzanes was a Cretan painter who migrated to Corfu and Venice.  He settled in Venice with his brothers Konstantinos Tzanes and poet Marinos Tzanes.  Konstantinos was a famous painter.  Their combined existing works number over 150.  Emmanuel replaced Greek painter Philotheos Skoufos as the priest of San Giorgio dei Greci.Saint Mark is the patron saint of Venice.  His remains were moved to Venice from Egypt. Countless Italian painters painted the subject matter.  He was considered one of the first historiographers of the new Christian religion.  He was associated with the Apostle Peter.  His gospel consists of collections of miracle stories, controversy stories, parables, and a passion narrative.  He founded the first church of Alexandria Egypt.Saint Mark is often depicted with a Lion.  The winged Lion of Saint Mark is a symbol of Venice.  The symbol also represents the Greek Orthodox Church of Alexandria.  Vittore Carpaccio painted the Lion of Saint Mark.  Venetian masters Titian and Tintoretto both created paintings of Saint Mark.  Titian's St. Mark Enthroned and Tintoretto's Finding of the Body of Saint Mark were symbols of Venice.  Andrea Mantegna also painted his own notable version of St Mark.St Mark's Basilica is one of the most important churches in Venice.  The church stands as an emblem of Saint Mark and the traditional Greek Italian Byzantine style.  Two prominent greek painters affiliated with St Mark's Basilica were Thomas Bathas and Nikolaos Philanthropinos.  Tzanes's painting is a testimony of the painter's loyalty to his new home.  The painting is currently at the Benaki Museum in Athens Greece.   The painting was a Gift from Damianos Kyriazis.

Greek Orthodox Patriarchate of Alexandria

The Incredulity of Saint Thomas (Tzanes)

Category:Paintings of Mark the Evangelist


Saint Mark (Tzanes)

Prompt: How does Saint Mark (Tzanes) explain its abstract?

Saint Mark is a tempera-on-wood painting created c. 1657 by Emmanuel Tzanes.  Tzanes was a Cretan painter who migrated to Corfu and Venice.  He settled in Venice with his brothers Konstantinos Tzanes and poet Marinos Tzanes.  Konstantinos was a famous painter.  Their combined existing works number over 150.  Emmanuel replaced Greek painter Philotheos Skoufos as the priest of San Giorgio dei Greci.Saint Mark is the patron saint of Venice.  His remains were moved to Venice from Egypt. Countless Italian painters painted the subject matter.  He was considered one of the first historiographers of the new Christian religion.  He was associated with the Apostle Peter.  His gospel consists of collections of miracle stories, controversy stories, parables, and a passion narrative.  He founded the first church of Alexandria Egypt.Saint Mark is often depicted with a Lion.  The winged Lion of Saint Mark is a symbol of Venice.  The symbol also represents the Greek Orthodox Church of Alexandria.  Vittore Carpaccio painted the Lion of Saint Mark.  Venetian masters Titian and Tintoretto both created paintings of Saint Mark.  Titian's St. Mark Enthroned and Tintoretto's Finding of the Body of Saint Mark were symbols of Venice.  Andrea Mantegna also painted his own notable version of St Mark.St Mark's Basilica is one of the most important churches in Venice.  The church stands as an emblem of Saint Mark and the traditional Greek Italian Byzantine style.  Two prominent greek painters affiliated with St Mark's Basilica were Thomas Bathas and Nikolaos Philanthropinos.  Tzanes's painting is a testimony of the painter's loyalty to his new home.  The painting is currently at the Benaki Museum in Athens Greece.   The painting was a Gift from Damianos Kyriazis.

Greek Orthodox Patriarchate of Alexandria

The Incredulity of Saint Thomas (Tzanes)

Category:Paintings of Mark the Evangelist


Saint Mark (Tzanes)

Prompt: In Saint Mark (Tzanes), how is the abstract discussed?

Saint Mark is a tempera-on-wood painting created c. 1657 by Emmanuel Tzanes.  Tzanes was a Cretan painter who migrated to Corfu and Venice.  He settled in Venice with his brothers Konstantinos Tzanes and poet Marinos Tzanes.  Konstantinos was a famous painter.  Their combined existing works number over 150.  Emmanuel replaced Greek painter Philotheos Skoufos as the priest of San Giorgio dei Greci.Saint Mark is the patron saint of Venice.  His remains were moved to Venice from Egypt. Countless Italian painters painted the subject matter.  He was considered one of the first historiographers of the new Christian religion.  He was associated with the Apostle Peter.  His gospel consists of collections of miracle stories, controversy stories, parables, and a passion narrative.  He founded the first church of Alexandria Egypt.Saint Mark is often depicted with a Lion.  The winged Lion of Saint Mark is a symbol of Venice.  The symbol also represents the Greek Orthodox Church of Alexandria.  Vittore Carpaccio painted the Lion of Saint Mark.  Venetian masters Titian and Tintoretto both created paintings of Saint Mark.  Titian's St. Mark Enthroned and Tintoretto's Finding of the Body of Saint Mark were symbols of Venice.  Andrea Mantegna also painted his own notable version of St Mark.St Mark's Basilica is one of the most important churches in Venice.  The church stands as an emblem of Saint Mark and the traditional Greek Italian Byzantine style.  Two prominent greek painters affiliated with St Mark's Basilica were Thomas Bathas and Nikolaos Philanthropinos.  Tzanes's painting is a testimony of the painter's loyalty to his new home.  The painting is currently at the Benaki Museum in Athens Greece.   The painting was a Gift from Damianos Kyriazis.

Greek Orthodox Patriarchate of Alexandria

The Incredulity of Saint Thomas (Tzanes)

Category:Paintings of Mark the Evangelist


Saint Mark (Tzanes)

Prompt: Focus on Saint Mark (Tzanes) and explain the Description.

The painting was created with egg tempera and gold leaf on wood panel.  The icon was created around 1657 in Venice.  The height of the painting is 66 cm (26 in) and the width is 54 cm (21.2 in).  The painting is one of the signed works of Tzanes.  The floor resembles Damaskinos's tiled floors.  Both The Last Supper and the Wedding at Cana featured tiled floors in a similar manner.  The floor allows viewers to visually establish the foreground, the middle ground, and the background.Saint Mark sits on his lion.  He holds an open book in his left hand and a quill pen in his right.The painter uses bright colors following the Italian cangiante technique.  The Saint's dark blue robe floats in mid-air while he looks to his left envisioning the story of Jesus.  His robe is painted with dark and light blue colors.  The painter creates the perfect illusion of shadows.  His bright orange shirt folds naturally.  The painter adds human anatomical features to Mark, his veins are clearly visible.  Mark's face gazes into space and the painter clearly expresses his facial features.  His nose, mouth, and eyes appear to establish space.  The brushstrokes of his beard clearly establish lines, contours, and grooves.  The painter clearly reveals his hair waves.In the upper right corner, the hand of God blesses the evangelist.  The cloud is painted with detail.  To our left a column and an archway are present.  Both are painted with clear lines and shapes.  There is a small bookshelf under the column and archway.  Inside the bookshelf, a small ink jar and book are visible.  The lion is painted in careful detail.  The lion's mane is clearly visible, it is curly and wavy.  The fur is distinguishable from the rest of the lion's hair.  His claws are close to Mark's foot.  The lion's claws are carefully painted.  The lion has a majestic expression on its face while holding an open book with Greek letters.

Greek Orthodox Patriarchate of Alexandria

The Incredulity of Saint Thomas (Tzanes)

Category:Paintings of Mark the Evangelist


Saint Mark (Tzanes)

Prompt: Explain the Description of this artwork, Saint Mark (Tzanes).

The painting was created with egg tempera and gold leaf on wood panel.  The icon was created around 1657 in Venice.  The height of the painting is 66 cm (26 in) and the width is 54 cm (21.2 in).  The painting is one of the signed works of Tzanes.  The floor resembles Damaskinos's tiled floors.  Both The Last Supper and the Wedding at Cana featured tiled floors in a similar manner.  The floor allows viewers to visually establish the foreground, the middle ground, and the background.Saint Mark sits on his lion.  He holds an open book in his left hand and a quill pen in his right.The painter uses bright colors following the Italian cangiante technique.  The Saint's dark blue robe floats in mid-air while he looks to his left envisioning the story of Jesus.  His robe is painted with dark and light blue colors.  The painter creates the perfect illusion of shadows.  His bright orange shirt folds naturally.  The painter adds human anatomical features to Mark, his veins are clearly visible.  Mark's face gazes into space and the painter clearly expresses his facial features.  His nose, mouth, and eyes appear to establish space.  The brushstrokes of his beard clearly establish lines, contours, and grooves.  The painter clearly reveals his hair waves.In the upper right corner, the hand of God blesses the evangelist.  The cloud is painted with detail.  To our left a column and an archway are present.  Both are painted with clear lines and shapes.  There is a small bookshelf under the column and archway.  Inside the bookshelf, a small ink jar and book are visible.  The lion is painted in careful detail.  The lion's mane is clearly visible, it is curly and wavy.  The fur is distinguishable from the rest of the lion's hair.  His claws are close to Mark's foot.  The lion's claws are carefully painted.  The lion has a majestic expression on its face while holding an open book with Greek letters.

Greek Orthodox Patriarchate of Alexandria

The Incredulity of Saint Thomas (Tzanes)

Category:Paintings of Mark the Evangelist


Saint Mark (Tzanes)

Prompt: How does Saint Mark (Tzanes) explain its Description?

The painting was created with egg tempera and gold leaf on wood panel.  The icon was created around 1657 in Venice.  The height of the painting is 66 cm (26 in) and the width is 54 cm (21.2 in).  The painting is one of the signed works of Tzanes.  The floor resembles Damaskinos's tiled floors.  Both The Last Supper and the Wedding at Cana featured tiled floors in a similar manner.  The floor allows viewers to visually establish the foreground, the middle ground, and the background.Saint Mark sits on his lion.  He holds an open book in his left hand and a quill pen in his right.The painter uses bright colors following the Italian cangiante technique.  The Saint's dark blue robe floats in mid-air while he looks to his left envisioning the story of Jesus.  His robe is painted with dark and light blue colors.  The painter creates the perfect illusion of shadows.  His bright orange shirt folds naturally.  The painter adds human anatomical features to Mark, his veins are clearly visible.  Mark's face gazes into space and the painter clearly expresses his facial features.  His nose, mouth, and eyes appear to establish space.  The brushstrokes of his beard clearly establish lines, contours, and grooves.  The painter clearly reveals his hair waves.In the upper right corner, the hand of God blesses the evangelist.  The cloud is painted with detail.  To our left a column and an archway are present.  Both are painted with clear lines and shapes.  There is a small bookshelf under the column and archway.  Inside the bookshelf, a small ink jar and book are visible.  The lion is painted in careful detail.  The lion's mane is clearly visible, it is curly and wavy.  The fur is distinguishable from the rest of the lion's hair.  His claws are close to Mark's foot.  The lion's claws are carefully painted.  The lion has a majestic expression on its face while holding an open book with Greek letters.

Greek Orthodox Patriarchate of Alexandria

The Incredulity of Saint Thomas (Tzanes)

Category:Paintings of Mark the Evangelist


Saint Mark (Tzanes)

Prompt: In Saint Mark (Tzanes), how is the Description discussed?

The painting was created with egg tempera and gold leaf on wood panel.  The icon was created around 1657 in Venice.  The height of the painting is 66 cm (26 in) and the width is 54 cm (21.2 in).  The painting is one of the signed works of Tzanes.  The floor resembles Damaskinos's tiled floors.  Both The Last Supper and the Wedding at Cana featured tiled floors in a similar manner.  The floor allows viewers to visually establish the foreground, the middle ground, and the background.Saint Mark sits on his lion.  He holds an open book in his left hand and a quill pen in his right.The painter uses bright colors following the Italian cangiante technique.  The Saint's dark blue robe floats in mid-air while he looks to his left envisioning the story of Jesus.  His robe is painted with dark and light blue colors.  The painter creates the perfect illusion of shadows.  His bright orange shirt folds naturally.  The painter adds human anatomical features to Mark, his veins are clearly visible.  Mark's face gazes into space and the painter clearly expresses his facial features.  His nose, mouth, and eyes appear to establish space.  The brushstrokes of his beard clearly establish lines, contours, and grooves.  The painter clearly reveals his hair waves.In the upper right corner, the hand of God blesses the evangelist.  The cloud is painted with detail.  To our left a column and an archway are present.  Both are painted with clear lines and shapes.  There is a small bookshelf under the column and archway.  Inside the bookshelf, a small ink jar and book are visible.  The lion is painted in careful detail.  The lion's mane is clearly visible, it is curly and wavy.  The fur is distinguishable from the rest of the lion's hair.  His claws are close to Mark's foot.  The lion's claws are carefully painted.  The lion has a majestic expression on its face while holding an open book with Greek letters.

Greek Orthodox Patriarchate of Alexandria

The Incredulity of Saint Thomas (Tzanes)

Category:Paintings of Mark the Evangelist


Portrait of Massimiliano II Stampa

Prompt: Focus on Portrait of Massimiliano II Stampa and explain the abstract.

Portrait of Massimiliano II Stampa is a c.1558 oil-on-canvas painting by the Italian Renaissance painter Sofonisba Anguissola, now in the Walters Art Museum, Baltimore, USA. It was previously misattributed to Giovan Battista Moroni, possibly due to stylistic similarities with Moroni's The Knight in Black.One of Anguissola's most important commissions, it shows Massimiliano II Stampa, 3rd Marquess of Soncino, then aged around nine. The Stampa family commissioned the portrait to commemorate Massimiliano's inheritance of the title on the death of his father in 1557.His dress is clearly influenced by the Spanish dominance of Lombardy at that time and the painting's style is also influenced by Spanish portraitists of the time in its aristocratically cold pose and allegorical symbols of wealth and social success.

Category:Portraits by Sofonisba Anguissola

Category:Paintings in the Walters Art Museum


Portrait of Massimiliano II Stampa

Prompt: Explain the abstract of this artwork, Portrait of Massimiliano II Stampa.

Portrait of Massimiliano II Stampa is a c.1558 oil-on-canvas painting by the Italian Renaissance painter Sofonisba Anguissola, now in the Walters Art Museum, Baltimore, USA. It was previously misattributed to Giovan Battista Moroni, possibly due to stylistic similarities with Moroni's The Knight in Black.One of Anguissola's most important commissions, it shows Massimiliano II Stampa, 3rd Marquess of Soncino, then aged around nine. The Stampa family commissioned the portrait to commemorate Massimiliano's inheritance of the title on the death of his father in 1557.His dress is clearly influenced by the Spanish dominance of Lombardy at that time and the painting's style is also influenced by Spanish portraitists of the time in its aristocratically cold pose and allegorical symbols of wealth and social success.

Category:Portraits by Sofonisba Anguissola

Category:Paintings in the Walters Art Museum


Portrait of Massimiliano II Stampa

Prompt: How does Portrait of Massimiliano II Stampa explain its abstract?

Portrait of Massimiliano II Stampa is a c.1558 oil-on-canvas painting by the Italian Renaissance painter Sofonisba Anguissola, now in the Walters Art Museum, Baltimore, USA. It was previously misattributed to Giovan Battista Moroni, possibly due to stylistic similarities with Moroni's The Knight in Black.One of Anguissola's most important commissions, it shows Massimiliano II Stampa, 3rd Marquess of Soncino, then aged around nine. The Stampa family commissioned the portrait to commemorate Massimiliano's inheritance of the title on the death of his father in 1557.His dress is clearly influenced by the Spanish dominance of Lombardy at that time and the painting's style is also influenced by Spanish portraitists of the time in its aristocratically cold pose and allegorical symbols of wealth and social success.

Category:Portraits by Sofonisba Anguissola

Category:Paintings in the Walters Art Museum


Portrait of Massimiliano II Stampa

Prompt: In Portrait of Massimiliano II Stampa, how is the abstract discussed?

Portrait of Massimiliano II Stampa is a c.1558 oil-on-canvas painting by the Italian Renaissance painter Sofonisba Anguissola, now in the Walters Art Museum, Baltimore, USA. It was previously misattributed to Giovan Battista Moroni, possibly due to stylistic similarities with Moroni's The Knight in Black.One of Anguissola's most important commissions, it shows Massimiliano II Stampa, 3rd Marquess of Soncino, then aged around nine. The Stampa family commissioned the portrait to commemorate Massimiliano's inheritance of the title on the death of his father in 1557.His dress is clearly influenced by the Spanish dominance of Lombardy at that time and the painting's style is also influenced by Spanish portraitists of the time in its aristocratically cold pose and allegorical symbols of wealth and social success.

Category:Portraits by Sofonisba Anguissola

Category:Paintings in the Walters Art Museum


In This Case

Prompt: Focus on In This Case and explain the abstract.

In This Case is a 1983 painting created by American artist Jean-Michel Basquiat in 1983. The artwork, which depicts a skull, is among the most expensive paintings ever purchased. In May 2021, it sold for $93.1 million at Christie's New York, the second highest auction record by Basquiat.

List of most expensive paintings#List of highest prices paid

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Museum of Cultures (Lugano)#Villa Malpensata


In This Case

Prompt: Explain the abstract of this artwork, In This Case.

In This Case is a 1983 painting created by American artist Jean-Michel Basquiat in 1983. The artwork, which depicts a skull, is among the most expensive paintings ever purchased. In May 2021, it sold for $93.1 million at Christie's New York, the second highest auction record by Basquiat.

List of most expensive paintings#List of highest prices paid

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Museum of Cultures (Lugano)#Villa Malpensata


In This Case

Prompt: How does In This Case explain its abstract?

In This Case is a 1983 painting created by American artist Jean-Michel Basquiat in 1983. The artwork, which depicts a skull, is among the most expensive paintings ever purchased. In May 2021, it sold for $93.1 million at Christie's New York, the second highest auction record by Basquiat.

List of most expensive paintings#List of highest prices paid

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Museum of Cultures (Lugano)#Villa Malpensata


In This Case

Prompt: In In This Case, how is the abstract discussed?

In This Case is a 1983 painting created by American artist Jean-Michel Basquiat in 1983. The artwork, which depicts a skull, is among the most expensive paintings ever purchased. In May 2021, it sold for $93.1 million at Christie's New York, the second highest auction record by Basquiat.

List of most expensive paintings#List of highest prices paid

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Museum of Cultures (Lugano)#Villa Malpensata


In This Case

Prompt: Focus on In This Case and explain the History.

By the time Jean-Michel Basquiat executed In This Case at the age of 22 in 1983, he was already internationally acclaimed for his neo-expressionism paintings. The six-by-six-foot work on canvas depicts a "large skull head set against a ruby-red background, with a blazing eye, protruding green teeth, and fractured anatomy." Art historian Robert Farris Thompson described the work as "one of Basquiat’s strongest...a climactic portrait of the black face that haunts painting after painting. Every creative touch—the green teeth, the yellow eye, the navy-blue skin—is exactly right." Depictions of Human anatomy are prevalent throughout Basquiat's oeuvre, rooting from his childhood when his mother gave him a copy of Gray's Anatomy while he recuperated from a car accident. "What drew Basquiat almost obsessively to the depiction of the human head was his fascination with the face as a passageway from exterior physical presence into the hidden realities of man’s psychological and mental realms," wrote Art historian Fred Hoffman.In This Case is the last in a series of large skull paintings made between 1981 and 1983. The first, Untitled (Skull) (1981) was acquired by Eli and Edythe Broad the year after it was painted and is now housed at The Broad museum in Los Angeles. The second, Untitled (1982) was sold for $110.5 million at Sotheby's in 2017, the highest price paid for an American artist at auction. In 2018, a Basquiat retrospective opened at the Louis Vuitton Foundation in Paris featuring the trinity of skull paintings. "What situates these canvases among his most arresting is the violence they bring to their upending of the vanitas. Listed Untitled, the first two are sometimes dubbed Skull, while the third is titled In This Case; these cranial anatomies are not memento mori, but amplified memories played very, very loud. So loud that their presence is indisputable," explained co-curator, Olivier Michelon.In May 2021, In This Case was sold at Christie's 21st-century art auction for $93.1 million, which far exceeded the pre-sale estimate of $50 million. The seller was Italian businessman Giancarlo Giammetti, co-founder of the fashion house Valentino. The work of art was photographed in the dining room of his Manhattan apartment for a 2013 Architectural Digest spread. Giammetti purchased the painting from Gagosian in 2007, which was previously sold for $999,500 at Sotheby's in 2002.

List of most expensive paintings#List of highest prices paid

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Museum of Cultures (Lugano)#Villa Malpensata