Diana (Saint-Gaudens)

Prompt: In the context of Diana (Saint-Gaudens), explain the In Seville and the Other versions.

Diana was on the top of a tower which was a replica of the Giralda of Seville. In commemoration, a replica of the Diana was made by the sculptor Ricardo Suárez and stood on the Dock of New York of the city of Seville on October 12 of 2019.

Half-sized ''Diana'' (1928), [[Metropolitan Museum of Art

Second version of ''Diana'' with her copper foulard.

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

Statuette (foreground) and half-sized plaster model (background), [[Saint-Gaudens National Historic Site

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

Second version of ''Diana'' (restored, 2013–14), Philadelphia Museum of Art.

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Explain the In Seville about the Other versions of this artwork, Diana (Saint-Gaudens).

Diana was on the top of a tower which was a replica of the Giralda of Seville. In commemoration, a replica of the Diana was made by the sculptor Ricardo Suárez and stood on the Dock of New York of the city of Seville on October 12 of 2019.

Half-sized ''Diana'' (1928), [[Metropolitan Museum of Art

Second version of ''Diana'' with her copper foulard.

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

Statuette (foreground) and half-sized plaster model (background), [[Saint-Gaudens National Historic Site

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

Second version of ''Diana'' (restored, 2013–14), Philadelphia Museum of Art.

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: In Diana (Saint-Gaudens), how is the In Seville of the Other versions explained?

Diana was on the top of a tower which was a replica of the Giralda of Seville. In commemoration, a replica of the Diana was made by the sculptor Ricardo Suárez and stood on the Dock of New York of the city of Seville on October 12 of 2019.

Half-sized ''Diana'' (1928), [[Metropolitan Museum of Art

Second version of ''Diana'' with her copper foulard.

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

Statuette (foreground) and half-sized plaster model (background), [[Saint-Gaudens National Historic Site

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

Second version of ''Diana'' (restored, 2013–14), Philadelphia Museum of Art.

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Describe the characteristics of the In Seville in Diana (Saint-Gaudens)'s Other versions.

Diana was on the top of a tower which was a replica of the Giralda of Seville. In commemoration, a replica of the Diana was made by the sculptor Ricardo Suárez and stood on the Dock of New York of the city of Seville on October 12 of 2019.

Half-sized ''Diana'' (1928), [[Metropolitan Museum of Art

Second version of ''Diana'' with her copper foulard.

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

Statuette (foreground) and half-sized plaster model (background), [[Saint-Gaudens National Historic Site

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

Second version of ''Diana'' (restored, 2013–14), Philadelphia Museum of Art.

alt=Diana statue at the Philadelphia Museum of Art


Alba Madonna

Prompt: Focus on Alba Madonna and explain the abstract.

The Alba Madonna is a tondo (circular) oil on wood transferred to canvas painting by the Italian High Renaissance artist Raphael, created c. 1511, depicting Mary, Jesus, and John the Baptist in a typical Italian countryside.After a century and a half in Italy, it was in the collection of the Dukes of Alba in Spain until 1836, when it was sold to Nicholas I of Russia, and it became one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Clandestinely sold to Andrew W. Mellon by the government of the Soviet Union in 1931, it has been held by the National Gallery of Art in Washington, D.C., since 1937.

transferred from a circular panel to a square canvas

Roman Catholic Diocese of Nocera Inferiore-Sarno

Gaspar Méndez de Haro, 7th Marquis of Carpio

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

María Cayetana de Silva, 13th Duchess of Alba

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: Explain the abstract of this artwork, Alba Madonna.

The Alba Madonna is a tondo (circular) oil on wood transferred to canvas painting by the Italian High Renaissance artist Raphael, created c. 1511, depicting Mary, Jesus, and John the Baptist in a typical Italian countryside.After a century and a half in Italy, it was in the collection of the Dukes of Alba in Spain until 1836, when it was sold to Nicholas I of Russia, and it became one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Clandestinely sold to Andrew W. Mellon by the government of the Soviet Union in 1931, it has been held by the National Gallery of Art in Washington, D.C., since 1937.

transferred from a circular panel to a square canvas

Roman Catholic Diocese of Nocera Inferiore-Sarno

Gaspar Méndez de Haro, 7th Marquis of Carpio

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

María Cayetana de Silva, 13th Duchess of Alba

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: How does Alba Madonna explain its abstract?

The Alba Madonna is a tondo (circular) oil on wood transferred to canvas painting by the Italian High Renaissance artist Raphael, created c. 1511, depicting Mary, Jesus, and John the Baptist in a typical Italian countryside.After a century and a half in Italy, it was in the collection of the Dukes of Alba in Spain until 1836, when it was sold to Nicholas I of Russia, and it became one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Clandestinely sold to Andrew W. Mellon by the government of the Soviet Union in 1931, it has been held by the National Gallery of Art in Washington, D.C., since 1937.

transferred from a circular panel to a square canvas

Roman Catholic Diocese of Nocera Inferiore-Sarno

Gaspar Méndez de Haro, 7th Marquis of Carpio

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

María Cayetana de Silva, 13th Duchess of Alba

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: In Alba Madonna, how is the abstract discussed?

The Alba Madonna is a tondo (circular) oil on wood transferred to canvas painting by the Italian High Renaissance artist Raphael, created c. 1511, depicting Mary, Jesus, and John the Baptist in a typical Italian countryside.After a century and a half in Italy, it was in the collection of the Dukes of Alba in Spain until 1836, when it was sold to Nicholas I of Russia, and it became one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Clandestinely sold to Andrew W. Mellon by the government of the Soviet Union in 1931, it has been held by the National Gallery of Art in Washington, D.C., since 1937.

transferred from a circular panel to a square canvas

Roman Catholic Diocese of Nocera Inferiore-Sarno

Gaspar Méndez de Haro, 7th Marquis of Carpio

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

María Cayetana de Silva, 13th Duchess of Alba

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: Focus on Alba Madonna and explain the Description.

John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are contemplating the cross, which is being accepted by Jesus as a token of the Crucifixion. The three figures are grouped to the left in the round design, but the image is balanced by the outstretched left arm of the Madonna holding a book, and the billowing material of her cloak, with the figures arranged in a pyramidal composition. Arranged about the figures are symbolic flowers: lady's bedstraw for childbirth, cyclamen for love and sorrow, violets for humility, dandelions and red-centred anemones for the Passion of Jesus.The tondo painting, on a round wood panel with diameter 94.5 cm (37.2 in), was commissioned by Paolo Giovio, after Raphael had left Florence in 1508 to live in Rome.  The painting show development from his earlier work, perhaps inspired by the Sistine Chapel ceiling then being painted by Michelangelo.Art historian Andrew Graham-Dixon has described the painting as "a breathtakingly beautiful work of art", linking her position on the ground to the iconography of the Madonna of Humility, but "her statuesque grandeur calls to mind earlier Renaissance images of the Madonna della Misericordia – images of the Virgin as Queen of Heaven and protectress of all humanity."

transferred from a circular panel to a square canvas

Roman Catholic Diocese of Nocera Inferiore-Sarno

Gaspar Méndez de Haro, 7th Marquis of Carpio

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

María Cayetana de Silva, 13th Duchess of Alba

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: Explain the Description of this artwork, Alba Madonna.

John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are contemplating the cross, which is being accepted by Jesus as a token of the Crucifixion. The three figures are grouped to the left in the round design, but the image is balanced by the outstretched left arm of the Madonna holding a book, and the billowing material of her cloak, with the figures arranged in a pyramidal composition. Arranged about the figures are symbolic flowers: lady's bedstraw for childbirth, cyclamen for love and sorrow, violets for humility, dandelions and red-centred anemones for the Passion of Jesus.The tondo painting, on a round wood panel with diameter 94.5 cm (37.2 in), was commissioned by Paolo Giovio, after Raphael had left Florence in 1508 to live in Rome.  The painting show development from his earlier work, perhaps inspired by the Sistine Chapel ceiling then being painted by Michelangelo.Art historian Andrew Graham-Dixon has described the painting as "a breathtakingly beautiful work of art", linking her position on the ground to the iconography of the Madonna of Humility, but "her statuesque grandeur calls to mind earlier Renaissance images of the Madonna della Misericordia – images of the Virgin as Queen of Heaven and protectress of all humanity."

transferred from a circular panel to a square canvas

Roman Catholic Diocese of Nocera Inferiore-Sarno

Gaspar Méndez de Haro, 7th Marquis of Carpio

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

María Cayetana de Silva, 13th Duchess of Alba

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: How does Alba Madonna explain its Description?

John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are contemplating the cross, which is being accepted by Jesus as a token of the Crucifixion. The three figures are grouped to the left in the round design, but the image is balanced by the outstretched left arm of the Madonna holding a book, and the billowing material of her cloak, with the figures arranged in a pyramidal composition. Arranged about the figures are symbolic flowers: lady's bedstraw for childbirth, cyclamen for love and sorrow, violets for humility, dandelions and red-centred anemones for the Passion of Jesus.The tondo painting, on a round wood panel with diameter 94.5 cm (37.2 in), was commissioned by Paolo Giovio, after Raphael had left Florence in 1508 to live in Rome.  The painting show development from his earlier work, perhaps inspired by the Sistine Chapel ceiling then being painted by Michelangelo.Art historian Andrew Graham-Dixon has described the painting as "a breathtakingly beautiful work of art", linking her position on the ground to the iconography of the Madonna of Humility, but "her statuesque grandeur calls to mind earlier Renaissance images of the Madonna della Misericordia – images of the Virgin as Queen of Heaven and protectress of all humanity."

transferred from a circular panel to a square canvas

Roman Catholic Diocese of Nocera Inferiore-Sarno

Gaspar Méndez de Haro, 7th Marquis of Carpio

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

María Cayetana de Silva, 13th Duchess of Alba

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: In Alba Madonna, how is the Description discussed?

John the Baptist is holding up a cross to Jesus, which the baby Jesus is grasping. All three figures are contemplating the cross, which is being accepted by Jesus as a token of the Crucifixion. The three figures are grouped to the left in the round design, but the image is balanced by the outstretched left arm of the Madonna holding a book, and the billowing material of her cloak, with the figures arranged in a pyramidal composition. Arranged about the figures are symbolic flowers: lady's bedstraw for childbirth, cyclamen for love and sorrow, violets for humility, dandelions and red-centred anemones for the Passion of Jesus.The tondo painting, on a round wood panel with diameter 94.5 cm (37.2 in), was commissioned by Paolo Giovio, after Raphael had left Florence in 1508 to live in Rome.  The painting show development from his earlier work, perhaps inspired by the Sistine Chapel ceiling then being painted by Michelangelo.Art historian Andrew Graham-Dixon has described the painting as "a breathtakingly beautiful work of art", linking her position on the ground to the iconography of the Madonna of Humility, but "her statuesque grandeur calls to mind earlier Renaissance images of the Madonna della Misericordia – images of the Virgin as Queen of Heaven and protectress of all humanity."

transferred from a circular panel to a square canvas

Roman Catholic Diocese of Nocera Inferiore-Sarno

Gaspar Méndez de Haro, 7th Marquis of Carpio

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

María Cayetana de Silva, 13th Duchess of Alba

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: Focus on Alba Madonna and explain the Provenance.

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the Sanctuary of Santa Maria dei Miracoli in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married Francisco Álvarez de Toledo y Silva, who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke (1761–1821), then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles (about US$1.1 million).  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Roman Catholic Diocese of Nocera Inferiore-Sarno

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: Explain the Provenance of this artwork, Alba Madonna.

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the Sanctuary of Santa Maria dei Miracoli in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married Francisco Álvarez de Toledo y Silva, who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke (1761–1821), then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles (about US$1.1 million).  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Roman Catholic Diocese of Nocera Inferiore-Sarno

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: How does Alba Madonna explain its Provenance?

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the Sanctuary of Santa Maria dei Miracoli in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married Francisco Álvarez de Toledo y Silva, who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke (1761–1821), then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles (about US$1.1 million).  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Roman Catholic Diocese of Nocera Inferiore-Sarno

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


Alba Madonna

Prompt: In Alba Madonna, how is the Provenance discussed?

Giovio became Bishop of Nocera de' Pagani in 1528, and he donated the painting to the Sanctuary of Santa Maria dei Miracoli in Nocera Inferiore.  The painting was bought in 1686 by the Viceroy of Naples, Gaspar Méndez de Haro, 7th Marquis of Carpio, who took the painting to Spain.  On his death the following year, it was inherited by his daughter; she married Francisco Álvarez de Toledo y Silva, who became the 10th Duke of Alba in 1711, and during the 18th century the painting belonged to the Spanish House of Alba, whose name it bears.It was sold by the heirs of María Cayetana de Silva, 13th Duchess of Alba to the diplomat Edmund Bourke (1761–1821), then Danish Ambassador to Spain and later in France and England; and he sold the painting to William Gordon Coesvelt in London in 1820. In 1836 Coesvelt sold the painting to Nicholas I of Russia, who made it one of the highlights of the Imperial Hermitage Museum in Saint Petersburg. Almost a century later, in 1931, the government of the Soviet Union clandestinely sold it to Andrew W. Mellon, for 2.5 million rubles (about US$1.1 million).  Mellon donated his collection to the National Gallery of Art in Washington, D.C., on its foundation in 1937, after a long squabble with the Roosevelt administration over his tax liabilities for the purchase.During its time in the Hermitage, the painting would be transferred from a circular panel to a square canvas during the early nineteenth century.  Through analysis of the painting, it was determined that the original panel was severely splitting down the center and on the right side.  The canvas pattern is visible in the painting and the landscape on the far right was damaged in the transfer process.During World War II the Alba Madonna was part of a group of over 100 pieces of art belonging to the National Gallery of Art that were transported by train to Asheville, North Carolina, where they were stored in the unfinished music room of the Vanderbilt mansion, Biltmore House. Done with the utmost secrecy, heavy steel doors were installed and bars were put in the windows of the barren music room. In 1944 after it became clear that the war would soon be over the paintings were moved back to the National Gallery of Art.

Roman Catholic Diocese of Nocera Inferiore-Sarno

File:Raphaël - Étude Madone d'Albe 1.jpg

Category:Paintings of the Madonna and Child by Raphael

List of original Hermitage paintings in the National Gallery of Art

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

Gaspar Méndez de Haro, 7th Marquess of Carpio


City (artwork)

Prompt: Focus on City (artwork) and explain the abstract.

City is a land art sculpture by Michael Heizer in Garden Valley, a desert valley in rural Lincoln County in the U.S. state of Nevada. More than a mile long, it is the largest contemporary artwork ever built. It was begun in 1972, took 50 years to complete, and cost an estimated $40 million. City is maintained by the Triple Aught Foundation and opened on September 2, 2022, to limited, reservation-only viewing by a maximum of six visitors per day.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

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

City is a land art sculpture by Michael Heizer in Garden Valley, a desert valley in rural Lincoln County in the U.S. state of Nevada. More than a mile long, it is the largest contemporary artwork ever built. It was begun in 1972, took 50 years to complete, and cost an estimated $40 million. City is maintained by the Triple Aught Foundation and opened on September 2, 2022, to limited, reservation-only viewing by a maximum of six visitors per day.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: How does City (artwork) explain its abstract?

City is a land art sculpture by Michael Heizer in Garden Valley, a desert valley in rural Lincoln County in the U.S. state of Nevada. More than a mile long, it is the largest contemporary artwork ever built. It was begun in 1972, took 50 years to complete, and cost an estimated $40 million. City is maintained by the Triple Aught Foundation and opened on September 2, 2022, to limited, reservation-only viewing by a maximum of six visitors per day.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: In City (artwork), how is the abstract discussed?

City is a land art sculpture by Michael Heizer in Garden Valley, a desert valley in rural Lincoln County in the U.S. state of Nevada. More than a mile long, it is the largest contemporary artwork ever built. It was begun in 1972, took 50 years to complete, and cost an estimated $40 million. City is maintained by the Triple Aught Foundation and opened on September 2, 2022, to limited, reservation-only viewing by a maximum of six visitors per day.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: Focus on City (artwork) and explain the Concept.

Like Heizer's Double Negative (1969), City is designed and executed on a massive scale. Covering a space approximately one and a quarter miles long and more than a quarter of a mile wide (2 km by 0.4 km, roughly the scale of the National Mall), City is one of the largest sculptures ever created. Using local dirt, rock, sand, and concrete as building materials, and assembled with heavy machinery, the work is composed of five phases, each consisting of a number of structures called complexes, with some of the structures reaching a height of 80 feet (24 m).City attempts to synthesize ancient monuments, minimalism and industrial technology. Heizer's inspiration for the work came while he was visiting Yucatan and studying Chichen Itza.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: Explain the Concept of this artwork, City (artwork).

Like Heizer's Double Negative (1969), City is designed and executed on a massive scale. Covering a space approximately one and a quarter miles long and more than a quarter of a mile wide (2 km by 0.4 km, roughly the scale of the National Mall), City is one of the largest sculptures ever created. Using local dirt, rock, sand, and concrete as building materials, and assembled with heavy machinery, the work is composed of five phases, each consisting of a number of structures called complexes, with some of the structures reaching a height of 80 feet (24 m).City attempts to synthesize ancient monuments, minimalism and industrial technology. Heizer's inspiration for the work came while he was visiting Yucatan and studying Chichen Itza.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: How does City (artwork) explain its Concept?

Like Heizer's Double Negative (1969), City is designed and executed on a massive scale. Covering a space approximately one and a quarter miles long and more than a quarter of a mile wide (2 km by 0.4 km, roughly the scale of the National Mall), City is one of the largest sculptures ever created. Using local dirt, rock, sand, and concrete as building materials, and assembled with heavy machinery, the work is composed of five phases, each consisting of a number of structures called complexes, with some of the structures reaching a height of 80 feet (24 m).City attempts to synthesize ancient monuments, minimalism and industrial technology. Heizer's inspiration for the work came while he was visiting Yucatan and studying Chichen Itza.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: In City (artwork), how is the Concept discussed?

Like Heizer's Double Negative (1969), City is designed and executed on a massive scale. Covering a space approximately one and a quarter miles long and more than a quarter of a mile wide (2 km by 0.4 km, roughly the scale of the National Mall), City is one of the largest sculptures ever created. Using local dirt, rock, sand, and concrete as building materials, and assembled with heavy machinery, the work is composed of five phases, each consisting of a number of structures called complexes, with some of the structures reaching a height of 80 feet (24 m).City attempts to synthesize ancient monuments, minimalism and industrial technology. Heizer's inspiration for the work came while he was visiting Yucatan and studying Chichen Itza.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: Focus on City (artwork) and explain the Management.

City was financed by several patrons, including the Dia Art Foundation and Lannan Foundation, with an estimated cost of well over $40 million. Heizer completed the work in 2022 with a team of roughly a dozen after previously anticipating completion by 2010. City is owned and administered by the nonprofit Triple Aught Foundation with a board including Heizer and leaders from arts organizations. It is open to the public as part of the terms of their conservation agreement. It is open to viewing by online reservation only on a limited number of days, with visitors transported to and from the site. Admission is free to residents of Lincoln, Nye, and White Pine Counties in Nevada and $150 for all others.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: Explain the Management of this artwork, City (artwork).

City was financed by several patrons, including the Dia Art Foundation and Lannan Foundation, with an estimated cost of well over $40 million. Heizer completed the work in 2022 with a team of roughly a dozen after previously anticipating completion by 2010. City is owned and administered by the nonprofit Triple Aught Foundation with a board including Heizer and leaders from arts organizations. It is open to the public as part of the terms of their conservation agreement. It is open to viewing by online reservation only on a limited number of days, with visitors transported to and from the site. Admission is free to residents of Lincoln, Nye, and White Pine Counties in Nevada and $150 for all others.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: How does City (artwork) explain its Management?

City was financed by several patrons, including the Dia Art Foundation and Lannan Foundation, with an estimated cost of well over $40 million. Heizer completed the work in 2022 with a team of roughly a dozen after previously anticipating completion by 2010. City is owned and administered by the nonprofit Triple Aught Foundation with a board including Heizer and leaders from arts organizations. It is open to the public as part of the terms of their conservation agreement. It is open to viewing by online reservation only on a limited number of days, with visitors transported to and from the site. Admission is free to residents of Lincoln, Nye, and White Pine Counties in Nevada and $150 for all others.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: In City (artwork), how is the Management discussed?

City was financed by several patrons, including the Dia Art Foundation and Lannan Foundation, with an estimated cost of well over $40 million. Heizer completed the work in 2022 with a team of roughly a dozen after previously anticipating completion by 2010. City is owned and administered by the nonprofit Triple Aught Foundation with a board including Heizer and leaders from arts organizations. It is open to the public as part of the terms of their conservation agreement. It is open to viewing by online reservation only on a limited number of days, with visitors transported to and from the site. Admission is free to residents of Lincoln, Nye, and White Pine Counties in Nevada and $150 for all others.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: Focus on City (artwork) and explain the Conservation.

Garden Valley has been eyed for several major projects in the years since Heizer started working on his sculpture. In the 1970s and early 1980s, the government planned to crisscross the valley and others nearby with railroad tracks that would carry MX missiles to and from hidden silos. The program was vetoed by President Ronald Reagan.The proposed Yucca Mountain Repository, a U.S. Department of Energy terminal storage facility for spent nuclear reactor and other radioactive waste would have included a new railroad line across Garden Valley, and would have come within its sightline. Heizer reportedly considered burying City if this line was built.In September 2014, U.S. Senator Harry Reid of Nevada introduced the Garden Valley Withdrawal Act, a bill that would preserve the land around City and protect 805,100 acres of federal land from mineral and energy development. Reid had visited the area around City in 2007, and tried to pass a similar bill in 2010 that would designate part of Garden Valley and nearby Coal Valley as a national conservation area. In early 2015, a group of American museums, including the Los Angeles County Museum of Art, the Museum of Modern Art, the Institute of Contemporary Art, Boston, the Walker Art Center, and the Nevada Museum of Art joined together to urge preservation of the area.In July 2015, the area became part of the newly created Basin and Range National Monument. The national monument designation prevents new railroad or power lines and other development.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: Explain the Conservation of this artwork, City (artwork).

Garden Valley has been eyed for several major projects in the years since Heizer started working on his sculpture. In the 1970s and early 1980s, the government planned to crisscross the valley and others nearby with railroad tracks that would carry MX missiles to and from hidden silos. The program was vetoed by President Ronald Reagan.The proposed Yucca Mountain Repository, a U.S. Department of Energy terminal storage facility for spent nuclear reactor and other radioactive waste would have included a new railroad line across Garden Valley, and would have come within its sightline. Heizer reportedly considered burying City if this line was built.In September 2014, U.S. Senator Harry Reid of Nevada introduced the Garden Valley Withdrawal Act, a bill that would preserve the land around City and protect 805,100 acres of federal land from mineral and energy development. Reid had visited the area around City in 2007, and tried to pass a similar bill in 2010 that would designate part of Garden Valley and nearby Coal Valley as a national conservation area. In early 2015, a group of American museums, including the Los Angeles County Museum of Art, the Museum of Modern Art, the Institute of Contemporary Art, Boston, the Walker Art Center, and the Nevada Museum of Art joined together to urge preservation of the area.In July 2015, the area became part of the newly created Basin and Range National Monument. The national monument designation prevents new railroad or power lines and other development.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: How does City (artwork) explain its Conservation?

Garden Valley has been eyed for several major projects in the years since Heizer started working on his sculpture. In the 1970s and early 1980s, the government planned to crisscross the valley and others nearby with railroad tracks that would carry MX missiles to and from hidden silos. The program was vetoed by President Ronald Reagan.The proposed Yucca Mountain Repository, a U.S. Department of Energy terminal storage facility for spent nuclear reactor and other radioactive waste would have included a new railroad line across Garden Valley, and would have come within its sightline. Heizer reportedly considered burying City if this line was built.In September 2014, U.S. Senator Harry Reid of Nevada introduced the Garden Valley Withdrawal Act, a bill that would preserve the land around City and protect 805,100 acres of federal land from mineral and energy development. Reid had visited the area around City in 2007, and tried to pass a similar bill in 2010 that would designate part of Garden Valley and nearby Coal Valley as a national conservation area. In early 2015, a group of American museums, including the Los Angeles County Museum of Art, the Museum of Modern Art, the Institute of Contemporary Art, Boston, the Walker Art Center, and the Nevada Museum of Art joined together to urge preservation of the area.In July 2015, the area became part of the newly created Basin and Range National Monument. The national monument designation prevents new railroad or power lines and other development.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


City (artwork)

Prompt: In City (artwork), how is the Conservation discussed?

Garden Valley has been eyed for several major projects in the years since Heizer started working on his sculpture. In the 1970s and early 1980s, the government planned to crisscross the valley and others nearby with railroad tracks that would carry MX missiles to and from hidden silos. The program was vetoed by President Ronald Reagan.The proposed Yucca Mountain Repository, a U.S. Department of Energy terminal storage facility for spent nuclear reactor and other radioactive waste would have included a new railroad line across Garden Valley, and would have come within its sightline. Heizer reportedly considered burying City if this line was built.In September 2014, U.S. Senator Harry Reid of Nevada introduced the Garden Valley Withdrawal Act, a bill that would preserve the land around City and protect 805,100 acres of federal land from mineral and energy development. Reid had visited the area around City in 2007, and tried to pass a similar bill in 2010 that would designate part of Garden Valley and nearby Coal Valley as a national conservation area. In early 2015, a group of American museums, including the Los Angeles County Museum of Art, the Museum of Modern Art, the Institute of Contemporary Art, Boston, the Walker Art Center, and the Nevada Museum of Art joined together to urge preservation of the area.In July 2015, the area became part of the newly created Basin and Range National Monument. The national monument designation prevents new railroad or power lines and other development.

Category:Buildings and structures in Lincoln County, Nevada

Category:Tourist attractions in Lincoln County, Nevada

Category:Buildings and structures completed in 2022


The Parasol

Prompt: Focus on The Parasol and explain the abstract.

The Parasol (also known as El Quitasol) is one of a cartoon series of oil on linen paintings made by the painter Francisco Goya. This series of paintings was specifically made in order to be transformed into tapestries that would be hung on the walls of the Royal Palace of El Pardo in Madrid, Spain. The tapestries showed serene events in everyday life, which made them a nice addition to the dining room of Prince and Princess of Asturias—the future King Charles IV and Maria Luisa of Parma. The queen called on Goya because she wanted to decorate the dining room with cheerful scenes; The Parasol and the other tapestry paintings were Goya's response to this request. The painting is currently located in the Museo del Prado in Madrid as is another in the series, Blind man's bluff.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons


The Parasol

Prompt: Explain the abstract of this artwork, The Parasol.

The Parasol (also known as El Quitasol) is one of a cartoon series of oil on linen paintings made by the painter Francisco Goya. This series of paintings was specifically made in order to be transformed into tapestries that would be hung on the walls of the Royal Palace of El Pardo in Madrid, Spain. The tapestries showed serene events in everyday life, which made them a nice addition to the dining room of Prince and Princess of Asturias—the future King Charles IV and Maria Luisa of Parma. The queen called on Goya because she wanted to decorate the dining room with cheerful scenes; The Parasol and the other tapestry paintings were Goya's response to this request. The painting is currently located in the Museo del Prado in Madrid as is another in the series, Blind man's bluff.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons


The Parasol

Prompt: How does The Parasol explain its abstract?

The Parasol (also known as El Quitasol) is one of a cartoon series of oil on linen paintings made by the painter Francisco Goya. This series of paintings was specifically made in order to be transformed into tapestries that would be hung on the walls of the Royal Palace of El Pardo in Madrid, Spain. The tapestries showed serene events in everyday life, which made them a nice addition to the dining room of Prince and Princess of Asturias—the future King Charles IV and Maria Luisa of Parma. The queen called on Goya because she wanted to decorate the dining room with cheerful scenes; The Parasol and the other tapestry paintings were Goya's response to this request. The painting is currently located in the Museo del Prado in Madrid as is another in the series, Blind man's bluff.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons


The Parasol

Prompt: In The Parasol, how is the abstract discussed?

The Parasol (also known as El Quitasol) is one of a cartoon series of oil on linen paintings made by the painter Francisco Goya. This series of paintings was specifically made in order to be transformed into tapestries that would be hung on the walls of the Royal Palace of El Pardo in Madrid, Spain. The tapestries showed serene events in everyday life, which made them a nice addition to the dining room of Prince and Princess of Asturias—the future King Charles IV and Maria Luisa of Parma. The queen called on Goya because she wanted to decorate the dining room with cheerful scenes; The Parasol and the other tapestry paintings were Goya's response to this request. The painting is currently located in the Museo del Prado in Madrid as is another in the series, Blind man's bluff.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons


The Parasol

Prompt: Focus on The Parasol and explain the Description of the painting.

In his paintings, Goya often joins French fashion to the Spanish one. The woman in this particular painting is sitting on the ground, possibly resting from a long walk. She is dressed in French style, according to the time period. She is holding a fan in her right hand, while a little dog is cuddled in her lap. The young man is holding the parasol in order to shade the woman's face. He is dressed in the so-called majo style, meaning he is dressed like a poor person for the time period. His hair gathered in a net, and his belt is made of colorful silk. In the background we can see dark clouds in the sky and the trees swaying in the wind, possibly signaling a storm coming. The painting emits a very calm warmth, which is then offset by the tree that seems to be blowing in pretty strong wind. The way the boy is standing, with one foot on the rock and one not, he seems to be triumphantly shading the woman from the harmful rays of the sun, and the possible storm.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons

cartoon series of oil on linen paintings


The Parasol

Prompt: Explain the Description of the painting of this artwork, The Parasol.

In his paintings, Goya often joins French fashion to the Spanish one. The woman in this particular painting is sitting on the ground, possibly resting from a long walk. She is dressed in French style, according to the time period. She is holding a fan in her right hand, while a little dog is cuddled in her lap. The young man is holding the parasol in order to shade the woman's face. He is dressed in the so-called majo style, meaning he is dressed like a poor person for the time period. His hair gathered in a net, and his belt is made of colorful silk. In the background we can see dark clouds in the sky and the trees swaying in the wind, possibly signaling a storm coming. The painting emits a very calm warmth, which is then offset by the tree that seems to be blowing in pretty strong wind. The way the boy is standing, with one foot on the rock and one not, he seems to be triumphantly shading the woman from the harmful rays of the sun, and the possible storm.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons

cartoon series of oil on linen paintings


The Parasol

Prompt: How does The Parasol explain its Description of the painting?

In his paintings, Goya often joins French fashion to the Spanish one. The woman in this particular painting is sitting on the ground, possibly resting from a long walk. She is dressed in French style, according to the time period. She is holding a fan in her right hand, while a little dog is cuddled in her lap. The young man is holding the parasol in order to shade the woman's face. He is dressed in the so-called majo style, meaning he is dressed like a poor person for the time period. His hair gathered in a net, and his belt is made of colorful silk. In the background we can see dark clouds in the sky and the trees swaying in the wind, possibly signaling a storm coming. The painting emits a very calm warmth, which is then offset by the tree that seems to be blowing in pretty strong wind. The way the boy is standing, with one foot on the rock and one not, he seems to be triumphantly shading the woman from the harmful rays of the sun, and the possible storm.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons

cartoon series of oil on linen paintings


The Parasol

Prompt: In The Parasol, how is the Description of the painting discussed?

In his paintings, Goya often joins French fashion to the Spanish one. The woman in this particular painting is sitting on the ground, possibly resting from a long walk. She is dressed in French style, according to the time period. She is holding a fan in her right hand, while a little dog is cuddled in her lap. The young man is holding the parasol in order to shade the woman's face. He is dressed in the so-called majo style, meaning he is dressed like a poor person for the time period. His hair gathered in a net, and his belt is made of colorful silk. In the background we can see dark clouds in the sky and the trees swaying in the wind, possibly signaling a storm coming. The painting emits a very calm warmth, which is then offset by the tree that seems to be blowing in pretty strong wind. The way the boy is standing, with one foot on the rock and one not, he seems to be triumphantly shading the woman from the harmful rays of the sun, and the possible storm.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons

cartoon series of oil on linen paintings


The Parasol

Prompt: Focus on The Parasol and explain the Influences.

From 1775 to 1792 Goya painted his cartoons (designs) for the tapestries. This was his first genre of paintings and possibly the most important period in his artistic development. Painting the tapestries helped Goya become a keen observer of human behavior, which helped him paint his future paintings. Goya was influenced by Neoclassicism, which was gaining favor over the Rococo style at the time. This particular painting is considered classicism for its relation to everyday life. Around this same time, Goya began painting portraits for many of the Spanish Monarchs. This was his first popular success that ultimately changed his career. He was then elected to the Royal Academy of San Fernando in 1780, named painter to the king in 1786, and made a court painter in 1789.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons

cartoon series of oil on linen paintings


The Parasol

Prompt: Explain the Influences of this artwork, The Parasol.

From 1775 to 1792 Goya painted his cartoons (designs) for the tapestries. This was his first genre of paintings and possibly the most important period in his artistic development. Painting the tapestries helped Goya become a keen observer of human behavior, which helped him paint his future paintings. Goya was influenced by Neoclassicism, which was gaining favor over the Rococo style at the time. This particular painting is considered classicism for its relation to everyday life. Around this same time, Goya began painting portraits for many of the Spanish Monarchs. This was his first popular success that ultimately changed his career. He was then elected to the Royal Academy of San Fernando in 1780, named painter to the king in 1786, and made a court painter in 1789.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons

cartoon series of oil on linen paintings


The Parasol

Prompt: How does The Parasol explain its Influences?

From 1775 to 1792 Goya painted his cartoons (designs) for the tapestries. This was his first genre of paintings and possibly the most important period in his artistic development. Painting the tapestries helped Goya become a keen observer of human behavior, which helped him paint his future paintings. Goya was influenced by Neoclassicism, which was gaining favor over the Rococo style at the time. This particular painting is considered classicism for its relation to everyday life. Around this same time, Goya began painting portraits for many of the Spanish Monarchs. This was his first popular success that ultimately changed his career. He was then elected to the Royal Academy of San Fernando in 1780, named painter to the king in 1786, and made a court painter in 1789.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons

cartoon series of oil on linen paintings


The Parasol

Prompt: In The Parasol, how is the Influences discussed?

From 1775 to 1792 Goya painted his cartoons (designs) for the tapestries. This was his first genre of paintings and possibly the most important period in his artistic development. Painting the tapestries helped Goya become a keen observer of human behavior, which helped him paint his future paintings. Goya was influenced by Neoclassicism, which was gaining favor over the Rococo style at the time. This particular painting is considered classicism for its relation to everyday life. Around this same time, Goya began painting portraits for many of the Spanish Monarchs. This was his first popular success that ultimately changed his career. He was then elected to the Royal Academy of San Fernando in 1780, named painter to the king in 1786, and made a court painter in 1789.

Real Academia de Bellas Artes de San Fernando

Category:Paintings by Francisco Goya in the Museo del Prado

List of Francisco Goya's tapestry cartoons

cartoon series of oil on linen paintings


Leonidas at Thermopylae

Prompt: Focus on Leonidas at Thermopylae and explain the abstract.

Leonidas at Thermopylae is an oil-on-canvas painting by French artist Jacques-Louis David. The work currently hangs in the Louvre in Paris, France. David completed the massive work (3.95 m × 5.31 m) 15 years after he began, working on it from 1799 to 1803 and again in 1813–1814. Leonidas at Thermopylae was purchased, along with The Intervention of the Sabine Women, in November 1819 for 100,000 francs by Louis XVIII, the king of France. The piece depicts the Spartan king Leonidas prior to the Battle of Thermopylae. David's pupil Georges Rouget collaborated on it.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: Explain the abstract of this artwork, Leonidas at Thermopylae.

Leonidas at Thermopylae is an oil-on-canvas painting by French artist Jacques-Louis David. The work currently hangs in the Louvre in Paris, France. David completed the massive work (3.95 m × 5.31 m) 15 years after he began, working on it from 1799 to 1803 and again in 1813–1814. Leonidas at Thermopylae was purchased, along with The Intervention of the Sabine Women, in November 1819 for 100,000 francs by Louis XVIII, the king of France. The piece depicts the Spartan king Leonidas prior to the Battle of Thermopylae. David's pupil Georges Rouget collaborated on it.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: How does Leonidas at Thermopylae explain its abstract?

Leonidas at Thermopylae is an oil-on-canvas painting by French artist Jacques-Louis David. The work currently hangs in the Louvre in Paris, France. David completed the massive work (3.95 m × 5.31 m) 15 years after he began, working on it from 1799 to 1803 and again in 1813–1814. Leonidas at Thermopylae was purchased, along with The Intervention of the Sabine Women, in November 1819 for 100,000 francs by Louis XVIII, the king of France. The piece depicts the Spartan king Leonidas prior to the Battle of Thermopylae. David's pupil Georges Rouget collaborated on it.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: In Leonidas at Thermopylae, how is the abstract discussed?

Leonidas at Thermopylae is an oil-on-canvas painting by French artist Jacques-Louis David. The work currently hangs in the Louvre in Paris, France. David completed the massive work (3.95 m × 5.31 m) 15 years after he began, working on it from 1799 to 1803 and again in 1813–1814. Leonidas at Thermopylae was purchased, along with The Intervention of the Sabine Women, in November 1819 for 100,000 francs by Louis XVIII, the king of France. The piece depicts the Spartan king Leonidas prior to the Battle of Thermopylae. David's pupil Georges Rouget collaborated on it.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: Focus on Leonidas at Thermopylae and explain the Background.

The crowded and theatrical scene that David depicts takes place in a time of war, seemingly in Ancient Greece from the Greek temple and temperate mountains in the background. The setting is the mountain pass in which the Battle of Thermopylae was about to be fought, in 480 BCE. Thermopylae was chosen as an ideal location for waging a defensive action in view of its narrow passage through the mountainous geography. This helped the Greeks make a better stand against the numerically vastly superior Persians, who were invading Greece. King Leonidas, the Spartan leader, “delayed the invasion of Darius I and the Persians…by sacrificing himself and his men to give the Greeks the time they needed to organize an ultimately victorious resistance” in the long run. This act of bravery and sacrifice by King Leonidas and his three hundred soldiers inspired David as France waged its own campaigns against rival European powers that wanted to restore France's pre-revolutionary ancien régime. In 1813–14, when he finished the painting, European powers allied against the First French Empire were invading France to topple the emperor, Napoleon Bonaparte, and David again found inspiration in the story of Leonidas at the Battle of Thermopylae.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: Explain the Background of this artwork, Leonidas at Thermopylae.

The crowded and theatrical scene that David depicts takes place in a time of war, seemingly in Ancient Greece from the Greek temple and temperate mountains in the background. The setting is the mountain pass in which the Battle of Thermopylae was about to be fought, in 480 BCE. Thermopylae was chosen as an ideal location for waging a defensive action in view of its narrow passage through the mountainous geography. This helped the Greeks make a better stand against the numerically vastly superior Persians, who were invading Greece. King Leonidas, the Spartan leader, “delayed the invasion of Darius I and the Persians…by sacrificing himself and his men to give the Greeks the time they needed to organize an ultimately victorious resistance” in the long run. This act of bravery and sacrifice by King Leonidas and his three hundred soldiers inspired David as France waged its own campaigns against rival European powers that wanted to restore France's pre-revolutionary ancien régime. In 1813–14, when he finished the painting, European powers allied against the First French Empire were invading France to topple the emperor, Napoleon Bonaparte, and David again found inspiration in the story of Leonidas at the Battle of Thermopylae.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: How does Leonidas at Thermopylae explain its Background?

The crowded and theatrical scene that David depicts takes place in a time of war, seemingly in Ancient Greece from the Greek temple and temperate mountains in the background. The setting is the mountain pass in which the Battle of Thermopylae was about to be fought, in 480 BCE. Thermopylae was chosen as an ideal location for waging a defensive action in view of its narrow passage through the mountainous geography. This helped the Greeks make a better stand against the numerically vastly superior Persians, who were invading Greece. King Leonidas, the Spartan leader, “delayed the invasion of Darius I and the Persians…by sacrificing himself and his men to give the Greeks the time they needed to organize an ultimately victorious resistance” in the long run. This act of bravery and sacrifice by King Leonidas and his three hundred soldiers inspired David as France waged its own campaigns against rival European powers that wanted to restore France's pre-revolutionary ancien régime. In 1813–14, when he finished the painting, European powers allied against the First French Empire were invading France to topple the emperor, Napoleon Bonaparte, and David again found inspiration in the story of Leonidas at the Battle of Thermopylae.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: In Leonidas at Thermopylae, how is the Background discussed?

The crowded and theatrical scene that David depicts takes place in a time of war, seemingly in Ancient Greece from the Greek temple and temperate mountains in the background. The setting is the mountain pass in which the Battle of Thermopylae was about to be fought, in 480 BCE. Thermopylae was chosen as an ideal location for waging a defensive action in view of its narrow passage through the mountainous geography. This helped the Greeks make a better stand against the numerically vastly superior Persians, who were invading Greece. King Leonidas, the Spartan leader, “delayed the invasion of Darius I and the Persians…by sacrificing himself and his men to give the Greeks the time they needed to organize an ultimately victorious resistance” in the long run. This act of bravery and sacrifice by King Leonidas and his three hundred soldiers inspired David as France waged its own campaigns against rival European powers that wanted to restore France's pre-revolutionary ancien régime. In 1813–14, when he finished the painting, European powers allied against the First French Empire were invading France to topple the emperor, Napoleon Bonaparte, and David again found inspiration in the story of Leonidas at the Battle of Thermopylae.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: Focus on Leonidas at Thermopylae and explain the Style.

When Napoleon Bonaparte saw the exhibit of David's latest paintings in 1799, “he criticized the lack of action and the fixed poses of the warriors in The Sabine Women.” This critique by one of David's heroes compelled David to revisit the classical ideals that inspired him (and the French Académie de Peinture et de Sculpture). The reworked masterpiece respects classical ideals of male virtue and beauty in its depiction of historical Greek warriors to convey an impression of heroic courage.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: Explain the Style of this artwork, Leonidas at Thermopylae.

When Napoleon Bonaparte saw the exhibit of David's latest paintings in 1799, “he criticized the lack of action and the fixed poses of the warriors in The Sabine Women.” This critique by one of David's heroes compelled David to revisit the classical ideals that inspired him (and the French Académie de Peinture et de Sculpture). The reworked masterpiece respects classical ideals of male virtue and beauty in its depiction of historical Greek warriors to convey an impression of heroic courage.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: How does Leonidas at Thermopylae explain its Style?

When Napoleon Bonaparte saw the exhibit of David's latest paintings in 1799, “he criticized the lack of action and the fixed poses of the warriors in The Sabine Women.” This critique by one of David's heroes compelled David to revisit the classical ideals that inspired him (and the French Académie de Peinture et de Sculpture). The reworked masterpiece respects classical ideals of male virtue and beauty in its depiction of historical Greek warriors to convey an impression of heroic courage.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: In Leonidas at Thermopylae, how is the Style discussed?

When Napoleon Bonaparte saw the exhibit of David's latest paintings in 1799, “he criticized the lack of action and the fixed poses of the warriors in The Sabine Women.” This critique by one of David's heroes compelled David to revisit the classical ideals that inspired him (and the French Académie de Peinture et de Sculpture). The reworked masterpiece respects classical ideals of male virtue and beauty in its depiction of historical Greek warriors to convey an impression of heroic courage.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: Focus on Leonidas at Thermopylae and explain the Earlier sketches.

David made many sketches before the final oil on canvas composition was executed. A sketch dating back to 1814 is a compositional study that was completed in two separate parts, leaving the final result somewhat choppy and overworked. There are a few differences between this compositional study and the final painting, one of which being a more full view of the background which resulted from the removal of trees and branches from the earlier sketch. Classical male figures were included from the beginning of David's sketches for Leonidas at Thermopylae.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: Explain the Earlier sketches of this artwork, Leonidas at Thermopylae.

David made many sketches before the final oil on canvas composition was executed. A sketch dating back to 1814 is a compositional study that was completed in two separate parts, leaving the final result somewhat choppy and overworked. There are a few differences between this compositional study and the final painting, one of which being a more full view of the background which resulted from the removal of trees and branches from the earlier sketch. Classical male figures were included from the beginning of David's sketches for Leonidas at Thermopylae.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: How does Leonidas at Thermopylae explain its Earlier sketches?

David made many sketches before the final oil on canvas composition was executed. A sketch dating back to 1814 is a compositional study that was completed in two separate parts, leaving the final result somewhat choppy and overworked. There are a few differences between this compositional study and the final painting, one of which being a more full view of the background which resulted from the removal of trees and branches from the earlier sketch. Classical male figures were included from the beginning of David's sketches for Leonidas at Thermopylae.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: In Leonidas at Thermopylae, how is the Earlier sketches discussed?

David made many sketches before the final oil on canvas composition was executed. A sketch dating back to 1814 is a compositional study that was completed in two separate parts, leaving the final result somewhat choppy and overworked. There are a few differences between this compositional study and the final painting, one of which being a more full view of the background which resulted from the removal of trees and branches from the earlier sketch. Classical male figures were included from the beginning of David's sketches for Leonidas at Thermopylae.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: Focus on Leonidas at Thermopylae and explain the Composition.

In Leonidas at Thermopylae, it is implied that the war is deeper than just the main figures in the foreground, with hundreds of other warriors in the battle too. In the foreground, we see that chaos has broken out and the army seems to be in shambles, while the leader of the army remains calm as the war progresses around him. The emphasized man in the center, presumably Leonidas, instantly draws the viewers’ eyes to him. Not only is Leonidas more bathed in light out of any of the partly shadowed figures in the painting, he also has the most static pose while almost everyone else is in motion. In this brief snapshot of a glimpse into an intense battle, he takes a moment to reflect on the war. While he is the leader of his army, Leonidas cannot do this alone; his eyes are upturned toward the heavens, as if to look up to God and beg for help. His facial expression is one of contemplation and almost defeat, as if he knows the fate of him and his army in the battle.The contrast of the only other static man to the right of the leader serves to show that though Leonidas's figure is static, his risen state defines him as the ruler. The figures in the right background look up to Leonidas, signaling that the company sees him as divine. His idealized figure contributes to this notion too, relaying the idea of his strength and bravery during this battle. The golden embroidered cape, fancy helmet, and huge shield all contribute to the idea of Leonidas's high status and primary role in this battle.On the left side, a soldier carves in rock the famous phrase (in Greek), "Go, passer-by, to Sparta tell/Obedient to her law we fell", conveying that Leonidas and his Spartans know their fate and are prepared to die, in the name of their country.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: Explain the Composition of this artwork, Leonidas at Thermopylae.

In Leonidas at Thermopylae, it is implied that the war is deeper than just the main figures in the foreground, with hundreds of other warriors in the battle too. In the foreground, we see that chaos has broken out and the army seems to be in shambles, while the leader of the army remains calm as the war progresses around him. The emphasized man in the center, presumably Leonidas, instantly draws the viewers’ eyes to him. Not only is Leonidas more bathed in light out of any of the partly shadowed figures in the painting, he also has the most static pose while almost everyone else is in motion. In this brief snapshot of a glimpse into an intense battle, he takes a moment to reflect on the war. While he is the leader of his army, Leonidas cannot do this alone; his eyes are upturned toward the heavens, as if to look up to God and beg for help. His facial expression is one of contemplation and almost defeat, as if he knows the fate of him and his army in the battle.The contrast of the only other static man to the right of the leader serves to show that though Leonidas's figure is static, his risen state defines him as the ruler. The figures in the right background look up to Leonidas, signaling that the company sees him as divine. His idealized figure contributes to this notion too, relaying the idea of his strength and bravery during this battle. The golden embroidered cape, fancy helmet, and huge shield all contribute to the idea of Leonidas's high status and primary role in this battle.On the left side, a soldier carves in rock the famous phrase (in Greek), "Go, passer-by, to Sparta tell/Obedient to her law we fell", conveying that Leonidas and his Spartans know their fate and are prepared to die, in the name of their country.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: How does Leonidas at Thermopylae explain its Composition?

In Leonidas at Thermopylae, it is implied that the war is deeper than just the main figures in the foreground, with hundreds of other warriors in the battle too. In the foreground, we see that chaos has broken out and the army seems to be in shambles, while the leader of the army remains calm as the war progresses around him. The emphasized man in the center, presumably Leonidas, instantly draws the viewers’ eyes to him. Not only is Leonidas more bathed in light out of any of the partly shadowed figures in the painting, he also has the most static pose while almost everyone else is in motion. In this brief snapshot of a glimpse into an intense battle, he takes a moment to reflect on the war. While he is the leader of his army, Leonidas cannot do this alone; his eyes are upturned toward the heavens, as if to look up to God and beg for help. His facial expression is one of contemplation and almost defeat, as if he knows the fate of him and his army in the battle.The contrast of the only other static man to the right of the leader serves to show that though Leonidas's figure is static, his risen state defines him as the ruler. The figures in the right background look up to Leonidas, signaling that the company sees him as divine. His idealized figure contributes to this notion too, relaying the idea of his strength and bravery during this battle. The golden embroidered cape, fancy helmet, and huge shield all contribute to the idea of Leonidas's high status and primary role in this battle.On the left side, a soldier carves in rock the famous phrase (in Greek), "Go, passer-by, to Sparta tell/Obedient to her law we fell", conveying that Leonidas and his Spartans know their fate and are prepared to die, in the name of their country.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


Leonidas at Thermopylae

Prompt: In Leonidas at Thermopylae, how is the Composition discussed?

In Leonidas at Thermopylae, it is implied that the war is deeper than just the main figures in the foreground, with hundreds of other warriors in the battle too. In the foreground, we see that chaos has broken out and the army seems to be in shambles, while the leader of the army remains calm as the war progresses around him. The emphasized man in the center, presumably Leonidas, instantly draws the viewers’ eyes to him. Not only is Leonidas more bathed in light out of any of the partly shadowed figures in the painting, he also has the most static pose while almost everyone else is in motion. In this brief snapshot of a glimpse into an intense battle, he takes a moment to reflect on the war. While he is the leader of his army, Leonidas cannot do this alone; his eyes are upturned toward the heavens, as if to look up to God and beg for help. His facial expression is one of contemplation and almost defeat, as if he knows the fate of him and his army in the battle.The contrast of the only other static man to the right of the leader serves to show that though Leonidas's figure is static, his risen state defines him as the ruler. The figures in the right background look up to Leonidas, signaling that the company sees him as divine. His idealized figure contributes to this notion too, relaying the idea of his strength and bravery during this battle. The golden embroidered cape, fancy helmet, and huge shield all contribute to the idea of Leonidas's high status and primary role in this battle.On the left side, a soldier carves in rock the famous phrase (in Greek), "Go, passer-by, to Sparta tell/Obedient to her law we fell", conveying that Leonidas and his Spartans know their fate and are prepared to die, in the name of their country.

List of paintings by Jacques-Louis David

File:The Intervention of the Sabine Women - David (Louvre INV 3691).jpg

David's ''[[The Intervention of the Sabine Women

Académie royale de peinture et de sculpture

Category:Paintings in the Louvre by French artists

Category:Paintings by Jacques-Louis David

Category:Cultural depictions of Leonidas I


The Alchemist Discovering Phosphorus

Prompt: Focus on The Alchemist Discovering Phosphorus and explain the abstract.

The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Explain the abstract of this artwork, The Alchemist Discovering Phosphorus.

The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: How does The Alchemist Discovering Phosphorus explain its abstract?

The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: In The Alchemist Discovering Phosphorus, how is the abstract discussed?

The Alchemist Discovering Phosphorus is a painting by Joseph Wright of Derby originally completed in 1771 then reworked in 1795. The full title of the painting is The Alchymist, in Search of the Philosopher's Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers. It has been suggested that The Alchymist refers to the discovery of phosphorus by the Hamburg alchemist Hennig Brand in 1669. This story was often printed in popular chemical books in Wright's lifetime, and was widely known.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Focus on The Alchemist Discovering Phosphorus and explain the Description.

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".Wright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting (left) of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Explain the Description of this artwork, The Alchemist Discovering Phosphorus.

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".Wright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting (left) of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: How does The Alchemist Discovering Phosphorus explain its Description?

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".Wright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting (left) of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: In The Alchemist Discovering Phosphorus, how is the Description discussed?

The picture shows the alchemist trying to produce the elusive Philosopher's stone, which could turn ordinary metal into gold, but instead, to his amazement, he discovers phosphorus. However, Wright does not picture the alchemist in a 17th-century background, but he romanticises the room by imagining medieval gothic arches and high, pointed windows as if he is in a church. He also gave a very favourable impression of the actual process, which involves the reduction by boiling of urine. A 1730 description of the manufacture of phosphorus described the need for 50 or 60 pails of urine that was both putrid and "bred worms".Wright also gives religious connotations to the painting. The alchemist kneels in front of a shining vessel, stretching out his hands in a similar gesture to that used by El Greco when painting St Francis receiving the Stigmata or St Jerome in Prayer. Benedict Nicolson compares his posture to that of one of Christ's disciples receiving communion. He believes that the layout of the painting may have been taken from Thomas Wijck's painting (left) of an alchemist, which also contains similar vaulting, a confusion of objects and a similar assistant who is singled out by the light. This painting from the previous century was on display in London during Wright's lifetime. However, it is clear from a sketch by Wright's companion, Peter Perez Burdett, that he had a strong influence on the design. His sketch of 4 February 1771 shows the vaulting and the layout of the painting, with the glass container as its focus. It is Burdett who says where to place the figure in the painting, and Burdett had already referred Wright to Matthew Turner so that Wright might fully understand the underlying science in the painting.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Focus on The Alchemist Discovering Phosphorus and explain the History.

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: Explain the History of this artwork, The Alchemist Discovering Phosphorus.

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg


The Alchemist Discovering Phosphorus

Prompt: How does The Alchemist Discovering Phosphorus explain its History?

Since its exhibition in 1771, the picture has provoked many contradictory interpretations. Its mystery disturbed 18th-century viewers, and although Wright was an internationally recognised artist, the painting was not sold when he first exhibited it. The picture travelled with Wright to Italy in 1773–1775, came back to England, was reworked in 1795, but was only sold four years after his death, when his possessions were auctioned at Christie's.

Category:Collection of Derby Museum and Art Gallery

Category:Paintings by Joseph Wright of Derby

File:Thomas Wijck - An Alchemist - WGA25742.jpg