Amistad Memorial (New Haven)

Prompt: Explain the Commissioning of the memorial about the History of this artwork, Amistad Memorial (New Haven).

In 1988, citizens of New Haven resurrected the Amistad Committee to organize events to commemorate the 150th anniversary of the Amistad affair. Most prominently, the committee raised funds for the New Haven memorial to be constructed, formed an assembly to construct the Amistad replica, and developed the idea for the Connecticut Freedom Trail, which includes the memorial. In 1992, Khalid Lum, a New Haven writer and activist said about the memorial, "many people who are familiar with the Amistad revolt feel it’s not only a matter of commemorating a historical event. It is also a thin hope and chance that some of the spirit that resulted in Cinque’s and his cohorts’ freedom might be generated."The Amistad Committee specifically desired that an African-American artist should design and build the memorial, so it contacted predominantly black schools to find a sculptor. The artist who ended up building the sculpture, Ed Hamilton, was not initially informed of the competition. He found out through his friend Earl J. Hooks while he was on holiday. He and four other artists submitted portfolios, but none of them passed jury approval. After asking the artists to re-submit, three were invited to come to the city. Only Hamilton accepted the invitation.Ed Hamilton, the sculptor of the Amistad Memorial, is an African-American artist, and was born in 1947 in Cincinnati, Ohio, currently residing near Louisville, KY.  He attended Spalding University in Louisville, Kentucky, and has been a sculptor and artist for most of his life. His primary works are public sculptures of African-Americans that have made positive contributions to the lives of Americans. One notable work was his Booker T. Washington Memorial, designed and built in 1983-1984.Hamilton designed a plaster model of the Amistad Memorial, which now resides at the African-American Historical Society in New Haven, Connecticut. He then made the armature for the clay sculpture which was cast in bronze in Louisville, Kentucky and set atop a triangular base of granite.

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: In Amistad Memorial (New Haven), how is the Commissioning of the memorial of the History explained?

In 1988, citizens of New Haven resurrected the Amistad Committee to organize events to commemorate the 150th anniversary of the Amistad affair. Most prominently, the committee raised funds for the New Haven memorial to be constructed, formed an assembly to construct the Amistad replica, and developed the idea for the Connecticut Freedom Trail, which includes the memorial. In 1992, Khalid Lum, a New Haven writer and activist said about the memorial, "many people who are familiar with the Amistad revolt feel it’s not only a matter of commemorating a historical event. It is also a thin hope and chance that some of the spirit that resulted in Cinque’s and his cohorts’ freedom might be generated."The Amistad Committee specifically desired that an African-American artist should design and build the memorial, so it contacted predominantly black schools to find a sculptor. The artist who ended up building the sculpture, Ed Hamilton, was not initially informed of the competition. He found out through his friend Earl J. Hooks while he was on holiday. He and four other artists submitted portfolios, but none of them passed jury approval. After asking the artists to re-submit, three were invited to come to the city. Only Hamilton accepted the invitation.Ed Hamilton, the sculptor of the Amistad Memorial, is an African-American artist, and was born in 1947 in Cincinnati, Ohio, currently residing near Louisville, KY.  He attended Spalding University in Louisville, Kentucky, and has been a sculptor and artist for most of his life. His primary works are public sculptures of African-Americans that have made positive contributions to the lives of Americans. One notable work was his Booker T. Washington Memorial, designed and built in 1983-1984.Hamilton designed a plaster model of the Amistad Memorial, which now resides at the African-American Historical Society in New Haven, Connecticut. He then made the armature for the clay sculpture which was cast in bronze in Louisville, Kentucky and set atop a triangular base of granite.

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: Describe the characteristics of the Commissioning of the memorial in Amistad Memorial (New Haven)'s History.

In 1988, citizens of New Haven resurrected the Amistad Committee to organize events to commemorate the 150th anniversary of the Amistad affair. Most prominently, the committee raised funds for the New Haven memorial to be constructed, formed an assembly to construct the Amistad replica, and developed the idea for the Connecticut Freedom Trail, which includes the memorial. In 1992, Khalid Lum, a New Haven writer and activist said about the memorial, "many people who are familiar with the Amistad revolt feel it’s not only a matter of commemorating a historical event. It is also a thin hope and chance that some of the spirit that resulted in Cinque’s and his cohorts’ freedom might be generated."The Amistad Committee specifically desired that an African-American artist should design and build the memorial, so it contacted predominantly black schools to find a sculptor. The artist who ended up building the sculpture, Ed Hamilton, was not initially informed of the competition. He found out through his friend Earl J. Hooks while he was on holiday. He and four other artists submitted portfolios, but none of them passed jury approval. After asking the artists to re-submit, three were invited to come to the city. Only Hamilton accepted the invitation.Ed Hamilton, the sculptor of the Amistad Memorial, is an African-American artist, and was born in 1947 in Cincinnati, Ohio, currently residing near Louisville, KY.  He attended Spalding University in Louisville, Kentucky, and has been a sculptor and artist for most of his life. His primary works are public sculptures of African-Americans that have made positive contributions to the lives of Americans. One notable work was his Booker T. Washington Memorial, designed and built in 1983-1984.Hamilton designed a plaster model of the Amistad Memorial, which now resides at the African-American Historical Society in New Haven, Connecticut. He then made the armature for the clay sculpture which was cast in bronze in Louisville, Kentucky and set atop a triangular base of granite.

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: In the context of Amistad Memorial (New Haven), explain the Dedication and the History.

The memorial was dedicated on September 18, 1992, and an estimated 300 people attended the dedication, despite the fact that it was pouring rain. Clifton H. Johnson, in his lecture "The Legacy of La Amistad" said, "Sculptor Ed Hamilton says in his autobiography that he viewed the rain as symbolic of the tears of all Africans who did not make the final journey home." Among those in attendance was Valentine Strasser, the chairman of the Republic of Sierra Leone. In his speech at the dedication, Strasser said, "I hope all who will come to New Haven and see this statue will remember what it stands for and take with them more than a sense of history.'

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: Explain the Dedication about the History of this artwork, Amistad Memorial (New Haven).

The memorial was dedicated on September 18, 1992, and an estimated 300 people attended the dedication, despite the fact that it was pouring rain. Clifton H. Johnson, in his lecture "The Legacy of La Amistad" said, "Sculptor Ed Hamilton says in his autobiography that he viewed the rain as symbolic of the tears of all Africans who did not make the final journey home." Among those in attendance was Valentine Strasser, the chairman of the Republic of Sierra Leone. In his speech at the dedication, Strasser said, "I hope all who will come to New Haven and see this statue will remember what it stands for and take with them more than a sense of history.'

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: In Amistad Memorial (New Haven), how is the Dedication of the History explained?

The memorial was dedicated on September 18, 1992, and an estimated 300 people attended the dedication, despite the fact that it was pouring rain. Clifton H. Johnson, in his lecture "The Legacy of La Amistad" said, "Sculptor Ed Hamilton says in his autobiography that he viewed the rain as symbolic of the tears of all Africans who did not make the final journey home." Among those in attendance was Valentine Strasser, the chairman of the Republic of Sierra Leone. In his speech at the dedication, Strasser said, "I hope all who will come to New Haven and see this statue will remember what it stands for and take with them more than a sense of history.'

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: Describe the characteristics of the Dedication in Amistad Memorial (New Haven)'s History.

The memorial was dedicated on September 18, 1992, and an estimated 300 people attended the dedication, despite the fact that it was pouring rain. Clifton H. Johnson, in his lecture "The Legacy of La Amistad" said, "Sculptor Ed Hamilton says in his autobiography that he viewed the rain as symbolic of the tears of all Africans who did not make the final journey home." Among those in attendance was Valentine Strasser, the chairman of the Republic of Sierra Leone. In his speech at the dedication, Strasser said, "I hope all who will come to New Haven and see this statue will remember what it stands for and take with them more than a sense of history.'

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: Focus on Amistad Memorial (New Haven) and explain the Description.

The memorial is located in front of New Haven City Hall, which sits on the site where the Amistad captives were held during their trial. Each of the three sides of the memorial depicts Joseph Cinqué:  on the first side, in his native clothing in Africa, on the second side, in court during his trials, and on the third side, after he won his freedom. The monument has a fourth side, facing up, which is only visible from the upper floors of City Hall. It depicts a face and hands in water. Laura Macaluso, in her book, "Art of the Amistad and the Portrait of Cinque" claims that this fourth side could represent slaves drowning along the Middle Passage. Its artist, Ed Hamilton comments on the meaning of the top side on his website: The top of the Memorial is a result of the emotional level of my personal experiences researching for information about slave trading.  From the second floor of City Hall you look down and contemplate this final view of the Memorial.  Could this be our brother, Foone, who drowned in the Farmington Canal?  Or, you could say that this figure, awash in the vastness of an ocean, represents the souls of the many Africans who did not finish their journey of the Middle Passage.  I will let you, as viewer, debate the meaning of this journey.For the memorial, Hamilton employed a technique known as relief in which the foreground image juts out from the background. Each side demonstrates both high relief (where the projection from the background is much greater than low relief) and low relief to display secondary objects, including the faces of other captives and abolitionists. The three portraits of Cinqué are sculpted in high relief.

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: Explain the Description of this artwork, Amistad Memorial (New Haven).

The memorial is located in front of New Haven City Hall, which sits on the site where the Amistad captives were held during their trial. Each of the three sides of the memorial depicts Joseph Cinqué:  on the first side, in his native clothing in Africa, on the second side, in court during his trials, and on the third side, after he won his freedom. The monument has a fourth side, facing up, which is only visible from the upper floors of City Hall. It depicts a face and hands in water. Laura Macaluso, in her book, "Art of the Amistad and the Portrait of Cinque" claims that this fourth side could represent slaves drowning along the Middle Passage. Its artist, Ed Hamilton comments on the meaning of the top side on his website: The top of the Memorial is a result of the emotional level of my personal experiences researching for information about slave trading.  From the second floor of City Hall you look down and contemplate this final view of the Memorial.  Could this be our brother, Foone, who drowned in the Farmington Canal?  Or, you could say that this figure, awash in the vastness of an ocean, represents the souls of the many Africans who did not finish their journey of the Middle Passage.  I will let you, as viewer, debate the meaning of this journey.For the memorial, Hamilton employed a technique known as relief in which the foreground image juts out from the background. Each side demonstrates both high relief (where the projection from the background is much greater than low relief) and low relief to display secondary objects, including the faces of other captives and abolitionists. The three portraits of Cinqué are sculpted in high relief.

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: How does Amistad Memorial (New Haven) explain its Description?

The memorial is located in front of New Haven City Hall, which sits on the site where the Amistad captives were held during their trial. Each of the three sides of the memorial depicts Joseph Cinqué:  on the first side, in his native clothing in Africa, on the second side, in court during his trials, and on the third side, after he won his freedom. The monument has a fourth side, facing up, which is only visible from the upper floors of City Hall. It depicts a face and hands in water. Laura Macaluso, in her book, "Art of the Amistad and the Portrait of Cinque" claims that this fourth side could represent slaves drowning along the Middle Passage. Its artist, Ed Hamilton comments on the meaning of the top side on his website: The top of the Memorial is a result of the emotional level of my personal experiences researching for information about slave trading.  From the second floor of City Hall you look down and contemplate this final view of the Memorial.  Could this be our brother, Foone, who drowned in the Farmington Canal?  Or, you could say that this figure, awash in the vastness of an ocean, represents the souls of the many Africans who did not finish their journey of the Middle Passage.  I will let you, as viewer, debate the meaning of this journey.For the memorial, Hamilton employed a technique known as relief in which the foreground image juts out from the background. Each side demonstrates both high relief (where the projection from the background is much greater than low relief) and low relief to display secondary objects, including the faces of other captives and abolitionists. The three portraits of Cinqué are sculpted in high relief.

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Amistad Memorial (New Haven)

Prompt: In Amistad Memorial (New Haven), how is the Description discussed?

The memorial is located in front of New Haven City Hall, which sits on the site where the Amistad captives were held during their trial. Each of the three sides of the memorial depicts Joseph Cinqué:  on the first side, in his native clothing in Africa, on the second side, in court during his trials, and on the third side, after he won his freedom. The monument has a fourth side, facing up, which is only visible from the upper floors of City Hall. It depicts a face and hands in water. Laura Macaluso, in her book, "Art of the Amistad and the Portrait of Cinque" claims that this fourth side could represent slaves drowning along the Middle Passage. Its artist, Ed Hamilton comments on the meaning of the top side on his website: The top of the Memorial is a result of the emotional level of my personal experiences researching for information about slave trading.  From the second floor of City Hall you look down and contemplate this final view of the Memorial.  Could this be our brother, Foone, who drowned in the Farmington Canal?  Or, you could say that this figure, awash in the vastness of an ocean, represents the souls of the many Africans who did not finish their journey of the Middle Passage.  I will let you, as viewer, debate the meaning of this journey.For the memorial, Hamilton employed a technique known as relief in which the foreground image juts out from the background. Each side demonstrates both high relief (where the projection from the background is much greater than low relief) and low relief to display secondary objects, including the faces of other captives and abolitionists. The three portraits of Cinqué are sculpted in high relief.

Category:Monuments and memorials in Connecticut

Category:Sculptures of men in Connecticut

Category:Tourist attractions in New Haven, Connecticut

Category:Sculptures of African Americans

Category:Outdoor sculptures in Connecticut

Category:Culture of New Haven, Connecticut

New Haven City Hall and County Courthouse

Category:Buildings and structures in New Haven, Connecticut


Portrait of Doge Andrea Gritti

Prompt: Focus on Portrait of Doge Andrea Gritti and explain the abstract.

Portrait of Doge Andrea Gritti is an oil painting by the Venetian master Titian, painted in the late 1540s, which is part of the collection of the National Gallery of Art in Washington, D.C. It is a portrait of Andrea Gritti, who was doge of Venice from 1523 to his death in 1538. A posthumous portrait, it is likely based on earlier depictions of the Doge, including one executed by Titian between 1537 and 1540 for Sala del Maggior Consiglio and destroyed during a fire in 1577.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: Explain the abstract of this artwork, Portrait of Doge Andrea Gritti.

Portrait of Doge Andrea Gritti is an oil painting by the Venetian master Titian, painted in the late 1540s, which is part of the collection of the National Gallery of Art in Washington, D.C. It is a portrait of Andrea Gritti, who was doge of Venice from 1523 to his death in 1538. A posthumous portrait, it is likely based on earlier depictions of the Doge, including one executed by Titian between 1537 and 1540 for Sala del Maggior Consiglio and destroyed during a fire in 1577.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: How does Portrait of Doge Andrea Gritti explain its abstract?

Portrait of Doge Andrea Gritti is an oil painting by the Venetian master Titian, painted in the late 1540s, which is part of the collection of the National Gallery of Art in Washington, D.C. It is a portrait of Andrea Gritti, who was doge of Venice from 1523 to his death in 1538. A posthumous portrait, it is likely based on earlier depictions of the Doge, including one executed by Titian between 1537 and 1540 for Sala del Maggior Consiglio and destroyed during a fire in 1577.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: In Portrait of Doge Andrea Gritti, how is the abstract discussed?

Portrait of Doge Andrea Gritti is an oil painting by the Venetian master Titian, painted in the late 1540s, which is part of the collection of the National Gallery of Art in Washington, D.C. It is a portrait of Andrea Gritti, who was doge of Venice from 1523 to his death in 1538. A posthumous portrait, it is likely based on earlier depictions of the Doge, including one executed by Titian between 1537 and 1540 for Sala del Maggior Consiglio and destroyed during a fire in 1577.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: Focus on Portrait of Doge Andrea Gritti and explain the Description.

Gritti is portrayed about down to his hips, wearing the Doge's cap and a robe of State glittering with gold; he gazes attentively to the left with a somewhat severe expression about his firmly-closed mouth. His clenched hand appears from under his broad sleeve. The play of light on the gold brocade, the broad stripe of white fur lining, the white beard and the gold lace on the ducal cap are used as bits of colour. The eyes, partly in shadow under projecting brows, are made the central point of an impressive personality. The work is signed "Titianus E. F."

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: Explain the Description of this artwork, Portrait of Doge Andrea Gritti.

Gritti is portrayed about down to his hips, wearing the Doge's cap and a robe of State glittering with gold; he gazes attentively to the left with a somewhat severe expression about his firmly-closed mouth. His clenched hand appears from under his broad sleeve. The play of light on the gold brocade, the broad stripe of white fur lining, the white beard and the gold lace on the ducal cap are used as bits of colour. The eyes, partly in shadow under projecting brows, are made the central point of an impressive personality. The work is signed "Titianus E. F."

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: How does Portrait of Doge Andrea Gritti explain its Description?

Gritti is portrayed about down to his hips, wearing the Doge's cap and a robe of State glittering with gold; he gazes attentively to the left with a somewhat severe expression about his firmly-closed mouth. His clenched hand appears from under his broad sleeve. The play of light on the gold brocade, the broad stripe of white fur lining, the white beard and the gold lace on the ducal cap are used as bits of colour. The eyes, partly in shadow under projecting brows, are made the central point of an impressive personality. The work is signed "Titianus E. F."

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: In Portrait of Doge Andrea Gritti, how is the Description discussed?

Gritti is portrayed about down to his hips, wearing the Doge's cap and a robe of State glittering with gold; he gazes attentively to the left with a somewhat severe expression about his firmly-closed mouth. His clenched hand appears from under his broad sleeve. The play of light on the gold brocade, the broad stripe of white fur lining, the white beard and the gold lace on the ducal cap are used as bits of colour. The eyes, partly in shadow under projecting brows, are made the central point of an impressive personality. The work is signed "Titianus E. F."

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: Focus on Portrait of Doge Andrea Gritti and explain the Date.

Attributed by Crowe and Cavalcaselle to Pordenone; according to Gronau, this seems in no way probable. The style of this work indicates not the earlier period of the reign of the Doge (1523 to 1538); it approaches more the portraits done after 1540 (as Aretino's in the Pitti). The National Gallery of Art dates to work to between 1546 and 1550.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: Explain the Date of this artwork, Portrait of Doge Andrea Gritti.

Attributed by Crowe and Cavalcaselle to Pordenone; according to Gronau, this seems in no way probable. The style of this work indicates not the earlier period of the reign of the Doge (1523 to 1538); it approaches more the portraits done after 1540 (as Aretino's in the Pitti). The National Gallery of Art dates to work to between 1546 and 1550.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: How does Portrait of Doge Andrea Gritti explain its Date?

Attributed by Crowe and Cavalcaselle to Pordenone; according to Gronau, this seems in no way probable. The style of this work indicates not the earlier period of the reign of the Doge (1523 to 1538); it approaches more the portraits done after 1540 (as Aretino's in the Pitti). The National Gallery of Art dates to work to between 1546 and 1550.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: In Portrait of Doge Andrea Gritti, how is the Date discussed?

Attributed by Crowe and Cavalcaselle to Pordenone; according to Gronau, this seems in no way probable. The style of this work indicates not the earlier period of the reign of the Doge (1523 to 1538); it approaches more the portraits done after 1540 (as Aretino's in the Pitti). The National Gallery of Art dates to work to between 1546 and 1550.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: Focus on Portrait of Doge Andrea Gritti and explain the Analysis.

Among the portraits of Doge Andrea Gritti which Titian executed, this is the only one surviving of all the doges' portraits Titian must have painted in his capacity of official painter to the Republic. It may have served as a preliminary study for a State portrait, and was broadly sketched in and finished by Titian in a few sittings. According to Gronau, "It cannot fail to create a strong impression from the spontaneous freshness of its design and the truth to nature in its technique." The picture has been likened to Michelangelo's statue of Moses, a possible influence; both works imbue their subject with the quality of terribilità.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: Explain the Analysis of this artwork, Portrait of Doge Andrea Gritti.

Among the portraits of Doge Andrea Gritti which Titian executed, this is the only one surviving of all the doges' portraits Titian must have painted in his capacity of official painter to the Republic. It may have served as a preliminary study for a State portrait, and was broadly sketched in and finished by Titian in a few sittings. According to Gronau, "It cannot fail to create a strong impression from the spontaneous freshness of its design and the truth to nature in its technique." The picture has been likened to Michelangelo's statue of Moses, a possible influence; both works imbue their subject with the quality of terribilità.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: How does Portrait of Doge Andrea Gritti explain its Analysis?

Among the portraits of Doge Andrea Gritti which Titian executed, this is the only one surviving of all the doges' portraits Titian must have painted in his capacity of official painter to the Republic. It may have served as a preliminary study for a State portrait, and was broadly sketched in and finished by Titian in a few sittings. According to Gronau, "It cannot fail to create a strong impression from the spontaneous freshness of its design and the truth to nature in its technique." The picture has been likened to Michelangelo's statue of Moses, a possible influence; both works imbue their subject with the quality of terribilità.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: In Portrait of Doge Andrea Gritti, how is the Analysis discussed?

Among the portraits of Doge Andrea Gritti which Titian executed, this is the only one surviving of all the doges' portraits Titian must have painted in his capacity of official painter to the Republic. It may have served as a preliminary study for a State portrait, and was broadly sketched in and finished by Titian in a few sittings. According to Gronau, "It cannot fail to create a strong impression from the spontaneous freshness of its design and the truth to nature in its technique." The picture has been likened to Michelangelo's statue of Moses, a possible influence; both works imbue their subject with the quality of terribilità.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg

Wenzel Anton, Prince von Kaunitz-Rietburg

Johann Rudolf, Count Czernin von Chudenitz


Portrait of Doge Andrea Gritti

Prompt: Focus on Portrait of Doge Andrea Gritti and explain the Provenance.

The picture was bought in 1626 in Italy for Charles I of England, hung at the Palace of Whitehall, London, and was sold at the Commonwealth sale at Somerset House, London, on 23 October 1651. It was owned by Wenzel Anton, Prince von Kaunitz-Rietburg, and passed by inheritance in 1794 to Wenzel Alois, Prinz Kaunitz. It was sold at the Kaunitz sale at Vienna on 13 March 1820 as lot 178, and purchased by Johann Rudolf, Count Czernin von Chudenitz, Vienna; passing by inheritance through the Czernin von Chudenitz family of Vienna, to Count Eugen Czernin von Chudenitz, Vienna, as of 1933, till at least 1948. It was sold in 1954 to the Samuel H. Kress Foundation, New York City, and gifted in 1961 to the National Gallery of Art in Washington D.C.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg


Portrait of Doge Andrea Gritti

Prompt: Explain the Provenance of this artwork, Portrait of Doge Andrea Gritti.

The picture was bought in 1626 in Italy for Charles I of England, hung at the Palace of Whitehall, London, and was sold at the Commonwealth sale at Somerset House, London, on 23 October 1651. It was owned by Wenzel Anton, Prince von Kaunitz-Rietburg, and passed by inheritance in 1794 to Wenzel Alois, Prinz Kaunitz. It was sold at the Kaunitz sale at Vienna on 13 March 1820 as lot 178, and purchased by Johann Rudolf, Count Czernin von Chudenitz, Vienna; passing by inheritance through the Czernin von Chudenitz family of Vienna, to Count Eugen Czernin von Chudenitz, Vienna, as of 1933, till at least 1948. It was sold in 1954 to the Samuel H. Kress Foundation, New York City, and gifted in 1961 to the National Gallery of Art in Washington D.C.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg


Portrait of Doge Andrea Gritti

Prompt: How does Portrait of Doge Andrea Gritti explain its Provenance?

The picture was bought in 1626 in Italy for Charles I of England, hung at the Palace of Whitehall, London, and was sold at the Commonwealth sale at Somerset House, London, on 23 October 1651. It was owned by Wenzel Anton, Prince von Kaunitz-Rietburg, and passed by inheritance in 1794 to Wenzel Alois, Prinz Kaunitz. It was sold at the Kaunitz sale at Vienna on 13 March 1820 as lot 178, and purchased by Johann Rudolf, Count Czernin von Chudenitz, Vienna; passing by inheritance through the Czernin von Chudenitz family of Vienna, to Count Eugen Czernin von Chudenitz, Vienna, as of 1933, till at least 1948. It was sold in 1954 to the Samuel H. Kress Foundation, New York City, and gifted in 1961 to the National Gallery of Art in Washington D.C.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg


Portrait of Doge Andrea Gritti

Prompt: In Portrait of Doge Andrea Gritti, how is the Provenance discussed?

The picture was bought in 1626 in Italy for Charles I of England, hung at the Palace of Whitehall, London, and was sold at the Commonwealth sale at Somerset House, London, on 23 October 1651. It was owned by Wenzel Anton, Prince von Kaunitz-Rietburg, and passed by inheritance in 1794 to Wenzel Alois, Prinz Kaunitz. It was sold at the Kaunitz sale at Vienna on 13 March 1820 as lot 178, and purchased by Johann Rudolf, Count Czernin von Chudenitz, Vienna; passing by inheritance through the Czernin von Chudenitz family of Vienna, to Count Eugen Czernin von Chudenitz, Vienna, as of 1933, till at least 1948. It was sold in 1954 to the Samuel H. Kress Foundation, New York City, and gifted in 1961 to the National Gallery of Art in Washington D.C.

Johann Rudolf, Count Czernin of Chudenitz

Category:Paintings in the National Gallery of Art

File:Ritratto del Doge Andrea Gritti - Tiziano 059FXD.jpg

Wenzel Anton, Prince of Kaunitz-Rietberg

File:Titian - Portrait of Doge Andrea Gritti (detail) - WGA22957.jpg


The Lament for Icarus

Prompt: Focus on The Lament for Icarus and explain the abstract.

The Lament for Icarus is a painting by Herbert James Draper, showing the dead Icarus, surrounded by lamenting nymphs. The wings of Icarus are based on the bird-of-paradise pattern. In 1898, the painting was bought from the Royal Academy exhibition through The Chantrey Bequest, a public fund for purchasing modern art bequeathed by Sir Francis Leggatt Chantrey, R.A. The Lament for Icarus was subsequently awarded the gold medal at the Exposition Universelle of 1900 in Paris.According to Justine Hopkins, Draper identifies Icarus "with the other heroes of the Pre-Raphaelites and symbolists, who, like James Dean half a century later, manage to live fast, die young and leave a beautiful corpse". (The last half of that comment is based on a line in the 1947 novel Knock on Any Door by Willard Motley and its film adaptation.)

Francis Leggatt Chantrey#Chantrey Bequest

Category:Paintings by Herbert James Draper

File:Herbert James Draper, Study for Icarus.jpg

Category:Paintings in the Tate galleries


The Lament for Icarus

Prompt: Explain the abstract of this artwork, The Lament for Icarus.

The Lament for Icarus is a painting by Herbert James Draper, showing the dead Icarus, surrounded by lamenting nymphs. The wings of Icarus are based on the bird-of-paradise pattern. In 1898, the painting was bought from the Royal Academy exhibition through The Chantrey Bequest, a public fund for purchasing modern art bequeathed by Sir Francis Leggatt Chantrey, R.A. The Lament for Icarus was subsequently awarded the gold medal at the Exposition Universelle of 1900 in Paris.According to Justine Hopkins, Draper identifies Icarus "with the other heroes of the Pre-Raphaelites and symbolists, who, like James Dean half a century later, manage to live fast, die young and leave a beautiful corpse". (The last half of that comment is based on a line in the 1947 novel Knock on Any Door by Willard Motley and its film adaptation.)

Francis Leggatt Chantrey#Chantrey Bequest

Category:Paintings by Herbert James Draper

File:Herbert James Draper, Study for Icarus.jpg

Category:Paintings in the Tate galleries


The Lament for Icarus

Prompt: How does The Lament for Icarus explain its abstract?

The Lament for Icarus is a painting by Herbert James Draper, showing the dead Icarus, surrounded by lamenting nymphs. The wings of Icarus are based on the bird-of-paradise pattern. In 1898, the painting was bought from the Royal Academy exhibition through The Chantrey Bequest, a public fund for purchasing modern art bequeathed by Sir Francis Leggatt Chantrey, R.A. The Lament for Icarus was subsequently awarded the gold medal at the Exposition Universelle of 1900 in Paris.According to Justine Hopkins, Draper identifies Icarus "with the other heroes of the Pre-Raphaelites and symbolists, who, like James Dean half a century later, manage to live fast, die young and leave a beautiful corpse". (The last half of that comment is based on a line in the 1947 novel Knock on Any Door by Willard Motley and its film adaptation.)

Francis Leggatt Chantrey#Chantrey Bequest

Category:Paintings by Herbert James Draper

File:Herbert James Draper, Study for Icarus.jpg

Category:Paintings in the Tate galleries


The Lament for Icarus

Prompt: In The Lament for Icarus, how is the abstract discussed?

The Lament for Icarus is a painting by Herbert James Draper, showing the dead Icarus, surrounded by lamenting nymphs. The wings of Icarus are based on the bird-of-paradise pattern. In 1898, the painting was bought from the Royal Academy exhibition through The Chantrey Bequest, a public fund for purchasing modern art bequeathed by Sir Francis Leggatt Chantrey, R.A. The Lament for Icarus was subsequently awarded the gold medal at the Exposition Universelle of 1900 in Paris.According to Justine Hopkins, Draper identifies Icarus "with the other heroes of the Pre-Raphaelites and symbolists, who, like James Dean half a century later, manage to live fast, die young and leave a beautiful corpse". (The last half of that comment is based on a line in the 1947 novel Knock on Any Door by Willard Motley and its film adaptation.)

Francis Leggatt Chantrey#Chantrey Bequest

Category:Paintings by Herbert James Draper

File:Herbert James Draper, Study for Icarus.jpg

Category:Paintings in the Tate galleries


The Lament for Icarus

Prompt: Focus on The Lament for Icarus and explain the The composition.

In 1890s Draper was focused mainly on ancient Greek mythological subjects. Frederic Leighton had depicted Icarus in 1869, but while Leighton showed the preparations for the flight, Draper depicted the tragic ending of the flight. For the composition Draper adopted Leighton's method of depicting separate figures, for which he employed four young professional models (Ethel Gurden, Ethel Warwick, Florence Bird and Luigi di Luca).The use of the male body as a vehicle for the projection of subjective emotion, as in The Lament for Icarus, is a feature of late-Victorian painting and sculpture, and in The Lament for Icarus the body appears to melt within the arms of one nymph. Draper applied liquid light effects without abandoning form and used mainly warm colours. The tanned skin of Icarus refers to his close approach to the Sun before falling down. The rays of the setting sun on distant cliffs emphasize the transience of time. Moralizing, sentimental, and sensual, The Lament for Icarus ultimately became a well-composed image of epic failure. However, somewhat surprising, Icarus has his wings fully intact, contrary to the myth where the wax melted and Icarus fell flapping his bare arms. The image of a "winged creature" is likely utilized to create a more symbolic, romantic, and elegant appearance.

Francis Leggatt Chantrey#Chantrey Bequest

Category:Paintings by Herbert James Draper

File:Herbert James Draper, Study for Icarus.jpg

Category:Paintings in the Tate galleries


The Lament for Icarus

Prompt: Explain the The composition of this artwork, The Lament for Icarus.

In 1890s Draper was focused mainly on ancient Greek mythological subjects. Frederic Leighton had depicted Icarus in 1869, but while Leighton showed the preparations for the flight, Draper depicted the tragic ending of the flight. For the composition Draper adopted Leighton's method of depicting separate figures, for which he employed four young professional models (Ethel Gurden, Ethel Warwick, Florence Bird and Luigi di Luca).The use of the male body as a vehicle for the projection of subjective emotion, as in The Lament for Icarus, is a feature of late-Victorian painting and sculpture, and in The Lament for Icarus the body appears to melt within the arms of one nymph. Draper applied liquid light effects without abandoning form and used mainly warm colours. The tanned skin of Icarus refers to his close approach to the Sun before falling down. The rays of the setting sun on distant cliffs emphasize the transience of time. Moralizing, sentimental, and sensual, The Lament for Icarus ultimately became a well-composed image of epic failure. However, somewhat surprising, Icarus has his wings fully intact, contrary to the myth where the wax melted and Icarus fell flapping his bare arms. The image of a "winged creature" is likely utilized to create a more symbolic, romantic, and elegant appearance.

Francis Leggatt Chantrey#Chantrey Bequest

Category:Paintings by Herbert James Draper

File:Herbert James Draper, Study for Icarus.jpg

Category:Paintings in the Tate galleries


The Lament for Icarus

Prompt: How does The Lament for Icarus explain its The composition?

In 1890s Draper was focused mainly on ancient Greek mythological subjects. Frederic Leighton had depicted Icarus in 1869, but while Leighton showed the preparations for the flight, Draper depicted the tragic ending of the flight. For the composition Draper adopted Leighton's method of depicting separate figures, for which he employed four young professional models (Ethel Gurden, Ethel Warwick, Florence Bird and Luigi di Luca).The use of the male body as a vehicle for the projection of subjective emotion, as in The Lament for Icarus, is a feature of late-Victorian painting and sculpture, and in The Lament for Icarus the body appears to melt within the arms of one nymph. Draper applied liquid light effects without abandoning form and used mainly warm colours. The tanned skin of Icarus refers to his close approach to the Sun before falling down. The rays of the setting sun on distant cliffs emphasize the transience of time. Moralizing, sentimental, and sensual, The Lament for Icarus ultimately became a well-composed image of epic failure. However, somewhat surprising, Icarus has his wings fully intact, contrary to the myth where the wax melted and Icarus fell flapping his bare arms. The image of a "winged creature" is likely utilized to create a more symbolic, romantic, and elegant appearance.

Francis Leggatt Chantrey#Chantrey Bequest

Category:Paintings by Herbert James Draper

File:Herbert James Draper, Study for Icarus.jpg

Category:Paintings in the Tate galleries


The Lament for Icarus

Prompt: In The Lament for Icarus, how is the The composition discussed?

In 1890s Draper was focused mainly on ancient Greek mythological subjects. Frederic Leighton had depicted Icarus in 1869, but while Leighton showed the preparations for the flight, Draper depicted the tragic ending of the flight. For the composition Draper adopted Leighton's method of depicting separate figures, for which he employed four young professional models (Ethel Gurden, Ethel Warwick, Florence Bird and Luigi di Luca).The use of the male body as a vehicle for the projection of subjective emotion, as in The Lament for Icarus, is a feature of late-Victorian painting and sculpture, and in The Lament for Icarus the body appears to melt within the arms of one nymph. Draper applied liquid light effects without abandoning form and used mainly warm colours. The tanned skin of Icarus refers to his close approach to the Sun before falling down. The rays of the setting sun on distant cliffs emphasize the transience of time. Moralizing, sentimental, and sensual, The Lament for Icarus ultimately became a well-composed image of epic failure. However, somewhat surprising, Icarus has his wings fully intact, contrary to the myth where the wax melted and Icarus fell flapping his bare arms. The image of a "winged creature" is likely utilized to create a more symbolic, romantic, and elegant appearance.

Francis Leggatt Chantrey#Chantrey Bequest

Category:Paintings by Herbert James Draper

File:Herbert James Draper, Study for Icarus.jpg

Category:Paintings in the Tate galleries


Untitled (1982 Basquiat devil painting)

Prompt: Focus on Untitled (1982 Basquiat devil painting) and explain the abstract.

Untitled is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork was sold at Christie's for $57.3 million in May 2016. At the time, that was the record for Basquiat's most expensive painting. In 2022, it was sold for $85 million at Phillips, becoming Basquiat's third highest auction sale and fourth most expensive painting.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: Explain the abstract of this artwork, Untitled (1982 Basquiat devil painting).

Untitled is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork was sold at Christie's for $57.3 million in May 2016. At the time, that was the record for Basquiat's most expensive painting. In 2022, it was sold for $85 million at Phillips, becoming Basquiat's third highest auction sale and fourth most expensive painting.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: How does Untitled (1982 Basquiat devil painting) explain its abstract?

Untitled is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork was sold at Christie's for $57.3 million in May 2016. At the time, that was the record for Basquiat's most expensive painting. In 2022, it was sold for $85 million at Phillips, becoming Basquiat's third highest auction sale and fourth most expensive painting.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: In Untitled (1982 Basquiat devil painting), how is the abstract discussed?

Untitled is a painting created by American artist Jean-Michel Basquiat in 1982. The artwork was sold at Christie's for $57.3 million in May 2016. At the time, that was the record for Basquiat's most expensive painting. In 2022, it was sold for $85 million at Phillips, becoming Basquiat's third highest auction sale and fourth most expensive painting.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: Focus on Untitled (1982 Basquiat devil painting) and explain the History.

Untitled was executed by Jean-Michel Basquiat in Modena, Italy in 1982, which is considered his most valuable year. A majority of the highest-selling Basquiat paintings at auction date to 1982. That year he also became the youngest artist ever invited to participate in Documenta in Kassel, Germany. Basquiat had initially been invited to Modena in 1981 by art dealer Emilio Mazzoli, for his first one-man show at Galleria d'Arte Emilio Mazzoli, after he had seen Basquiat's work at the New York/New Wave February 1981 show at New York's MoMA PS1. Basquiat returned to Modena in March 1982, and during this trip he created a series of paintings; Untitled being the largest at over sixteen feet wide and almost eight feet tall.The artwork has often been identified as a self-portrait depicting Basquiat as a devil. It is dominated by sporadic brushwork and an array of vivid colors overlapping a fiery black devil at its center. The painting was a part of the collection art dealer Adam Lindemann and his wife, art dealer Amalia Dayan in New York. Lindemann purchased the painting for $4.5 million at the Sotheby's contemporary art evening sale in London in June 2004. It was sold to Japanese businessman and art collector Yusaku Maezawa for $57.3 million at Christie's post-war and contemporary art evening auction in May 2016. It was the most expensive Basquiat painting sold at auction until Maezawa purchased Untitled (1982) for $110.5 million at Sotheby's in May 2017. In May 2022, Maezawa sold the painting for $85 million at Phillips' 20th Century & Contemporary Art Evening Sale in New York.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: Explain the History of this artwork, Untitled (1982 Basquiat devil painting).

Untitled was executed by Jean-Michel Basquiat in Modena, Italy in 1982, which is considered his most valuable year. A majority of the highest-selling Basquiat paintings at auction date to 1982. That year he also became the youngest artist ever invited to participate in Documenta in Kassel, Germany. Basquiat had initially been invited to Modena in 1981 by art dealer Emilio Mazzoli, for his first one-man show at Galleria d'Arte Emilio Mazzoli, after he had seen Basquiat's work at the New York/New Wave February 1981 show at New York's MoMA PS1. Basquiat returned to Modena in March 1982, and during this trip he created a series of paintings; Untitled being the largest at over sixteen feet wide and almost eight feet tall.The artwork has often been identified as a self-portrait depicting Basquiat as a devil. It is dominated by sporadic brushwork and an array of vivid colors overlapping a fiery black devil at its center. The painting was a part of the collection art dealer Adam Lindemann and his wife, art dealer Amalia Dayan in New York. Lindemann purchased the painting for $4.5 million at the Sotheby's contemporary art evening sale in London in June 2004. It was sold to Japanese businessman and art collector Yusaku Maezawa for $57.3 million at Christie's post-war and contemporary art evening auction in May 2016. It was the most expensive Basquiat painting sold at auction until Maezawa purchased Untitled (1982) for $110.5 million at Sotheby's in May 2017. In May 2022, Maezawa sold the painting for $85 million at Phillips' 20th Century & Contemporary Art Evening Sale in New York.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: How does Untitled (1982 Basquiat devil painting) explain its History?

Untitled was executed by Jean-Michel Basquiat in Modena, Italy in 1982, which is considered his most valuable year. A majority of the highest-selling Basquiat paintings at auction date to 1982. That year he also became the youngest artist ever invited to participate in Documenta in Kassel, Germany. Basquiat had initially been invited to Modena in 1981 by art dealer Emilio Mazzoli, for his first one-man show at Galleria d'Arte Emilio Mazzoli, after he had seen Basquiat's work at the New York/New Wave February 1981 show at New York's MoMA PS1. Basquiat returned to Modena in March 1982, and during this trip he created a series of paintings; Untitled being the largest at over sixteen feet wide and almost eight feet tall.The artwork has often been identified as a self-portrait depicting Basquiat as a devil. It is dominated by sporadic brushwork and an array of vivid colors overlapping a fiery black devil at its center. The painting was a part of the collection art dealer Adam Lindemann and his wife, art dealer Amalia Dayan in New York. Lindemann purchased the painting for $4.5 million at the Sotheby's contemporary art evening sale in London in June 2004. It was sold to Japanese businessman and art collector Yusaku Maezawa for $57.3 million at Christie's post-war and contemporary art evening auction in May 2016. It was the most expensive Basquiat painting sold at auction until Maezawa purchased Untitled (1982) for $110.5 million at Sotheby's in May 2017. In May 2022, Maezawa sold the painting for $85 million at Phillips' 20th Century & Contemporary Art Evening Sale in New York.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: In Untitled (1982 Basquiat devil painting), how is the History discussed?

Untitled was executed by Jean-Michel Basquiat in Modena, Italy in 1982, which is considered his most valuable year. A majority of the highest-selling Basquiat paintings at auction date to 1982. That year he also became the youngest artist ever invited to participate in Documenta in Kassel, Germany. Basquiat had initially been invited to Modena in 1981 by art dealer Emilio Mazzoli, for his first one-man show at Galleria d'Arte Emilio Mazzoli, after he had seen Basquiat's work at the New York/New Wave February 1981 show at New York's MoMA PS1. Basquiat returned to Modena in March 1982, and during this trip he created a series of paintings; Untitled being the largest at over sixteen feet wide and almost eight feet tall.The artwork has often been identified as a self-portrait depicting Basquiat as a devil. It is dominated by sporadic brushwork and an array of vivid colors overlapping a fiery black devil at its center. The painting was a part of the collection art dealer Adam Lindemann and his wife, art dealer Amalia Dayan in New York. Lindemann purchased the painting for $4.5 million at the Sotheby's contemporary art evening sale in London in June 2004. It was sold to Japanese businessman and art collector Yusaku Maezawa for $57.3 million at Christie's post-war and contemporary art evening auction in May 2016. It was the most expensive Basquiat painting sold at auction until Maezawa purchased Untitled (1982) for $110.5 million at Sotheby's in May 2017. In May 2022, Maezawa sold the painting for $85 million at Phillips' 20th Century & Contemporary Art Evening Sale in New York.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: Focus on Untitled (1982 Basquiat devil painting) and explain the Exhibitions.

Untitled has been exhibited at major art institutions worldwide, which include:Jean-Michel Basquiat, Paintings at Akira Ikeda Gallery in Tokyo, December 1985.Jean-Michel Basquiat at Galerie Enrico Navarra in Paris, April–June 1996.Jean-Michel Basquiat at Kaohsiung Museum of Fine Arts in Taiwan, January–June 1997; Pinacoteca do Estado de São Paulo in Brazil, June–August 1998.Basquiat a Venezia at Fondazione Bevilacqua La Masa in Venice, June–October 1999.Basquiat a Napoli at Il Museo Civico di Castel Nuovo in Naples, December 1999–March 2000.Jean-Michel Basquiat: Dipinti at Chiostro del Bramante in Rome, January–March 2002.Jean-Michel Basquiat: The Work of a Lifetime at Musée Maillol in Paris, June–October 2003.Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: Explain the Exhibitions of this artwork, Untitled (1982 Basquiat devil painting).

Untitled has been exhibited at major art institutions worldwide, which include:Jean-Michel Basquiat, Paintings at Akira Ikeda Gallery in Tokyo, December 1985.Jean-Michel Basquiat at Galerie Enrico Navarra in Paris, April–June 1996.Jean-Michel Basquiat at Kaohsiung Museum of Fine Arts in Taiwan, January–June 1997; Pinacoteca do Estado de São Paulo in Brazil, June–August 1998.Basquiat a Venezia at Fondazione Bevilacqua La Masa in Venice, June–October 1999.Basquiat a Napoli at Il Museo Civico di Castel Nuovo in Naples, December 1999–March 2000.Jean-Michel Basquiat: Dipinti at Chiostro del Bramante in Rome, January–March 2002.Jean-Michel Basquiat: The Work of a Lifetime at Musée Maillol in Paris, June–October 2003.Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: How does Untitled (1982 Basquiat devil painting) explain its Exhibitions?

Untitled has been exhibited at major art institutions worldwide, which include:Jean-Michel Basquiat, Paintings at Akira Ikeda Gallery in Tokyo, December 1985.Jean-Michel Basquiat at Galerie Enrico Navarra in Paris, April–June 1996.Jean-Michel Basquiat at Kaohsiung Museum of Fine Arts in Taiwan, January–June 1997; Pinacoteca do Estado de São Paulo in Brazil, June–August 1998.Basquiat a Venezia at Fondazione Bevilacqua La Masa in Venice, June–October 1999.Basquiat a Napoli at Il Museo Civico di Castel Nuovo in Naples, December 1999–March 2000.Jean-Michel Basquiat: Dipinti at Chiostro del Bramante in Rome, January–March 2002.Jean-Michel Basquiat: The Work of a Lifetime at Musée Maillol in Paris, June–October 2003.Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Untitled (1982 Basquiat devil painting)

Prompt: In Untitled (1982 Basquiat devil painting), how is the Exhibitions discussed?

Untitled has been exhibited at major art institutions worldwide, which include:Jean-Michel Basquiat, Paintings at Akira Ikeda Gallery in Tokyo, December 1985.Jean-Michel Basquiat at Galerie Enrico Navarra in Paris, April–June 1996.Jean-Michel Basquiat at Kaohsiung Museum of Fine Arts in Taiwan, January–June 1997; Pinacoteca do Estado de São Paulo in Brazil, June–August 1998.Basquiat a Venezia at Fondazione Bevilacqua La Masa in Venice, June–October 1999.Basquiat a Napoli at Il Museo Civico di Castel Nuovo in Naples, December 1999–March 2000.Jean-Michel Basquiat: Dipinti at Chiostro del Bramante in Rome, January–March 2002.Jean-Michel Basquiat: The Work of a Lifetime at Musée Maillol in Paris, June–October 2003.Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Focus on Portrait of Mrs. Theodore Atkinson Jr. and explain the abstract.

Mrs. Theodore Atkinson Jr. is an oil-on-canvas portrait painting completed in 1765 by the American artist John Singleton Copley.  It is now housed in the Crystal Bridges Museum of American Art.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Explain the abstract of this artwork, Portrait of Mrs. Theodore Atkinson Jr..

Mrs. Theodore Atkinson Jr. is an oil-on-canvas portrait painting completed in 1765 by the American artist John Singleton Copley.  It is now housed in the Crystal Bridges Museum of American Art.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: How does Portrait of Mrs. Theodore Atkinson Jr. explain its abstract?

Mrs. Theodore Atkinson Jr. is an oil-on-canvas portrait painting completed in 1765 by the American artist John Singleton Copley.  It is now housed in the Crystal Bridges Museum of American Art.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: In Portrait of Mrs. Theodore Atkinson Jr., how is the abstract discussed?

Mrs. Theodore Atkinson Jr. is an oil-on-canvas portrait painting completed in 1765 by the American artist John Singleton Copley.  It is now housed in the Crystal Bridges Museum of American Art.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Focus on Portrait of Mrs. Theodore Atkinson Jr. and explain the Subject.

Frances Deering Wentworth (1745–1813) was born into a wealthy and well-connected family. Her parents were Samuel Wentworth and Elizabeth Deering. When she was a young teenager, she had fallen in love with her first cousin, John Wentworth. However, he was too invested in establishing his career, and he left America to go to London. In London he managed his family's business. Back in America, Frances was 16 and fell in love with another one of her first cousins, Theodore Atkinson. They wed on May 13, 1762 and moved into their new home in 1765 in Portsmouth. During this time, Theodore commissioned John Singleton Copley to paint a portrait of his wife to display in their home.In 1767, John Wentworth made his triumphant return to the American colonies. He was well-established and was now the governor of New Hampshire. Theodore had been in poor health for quite some time and it was rumored that Frances and John, both still in love, were having an affair. Theodore died on October 28, 1769, and a burial followed. Fueling the rumors, Frances and John wed the week following Theodore's death. At the time, Frances wedding shortly after her husband's death was the talk of the town and continued to be for some time. In Harriett Elizabeth Prescott Spofford's 1871 book New England Legends, she wrote:  “On one day Theodore breathed his last. His burial took place on the following Wednesday; by the Governor’s order all the bells in town were tolled, flags were hung at half-mast, and minute-guns were fired from the fort and from the ships-of-war in the harbor.  On Sunday the weeping widow, clad in crapes, listened in church to the funeral eulogies; on Monday her affliction was mitigated; on Tuesday all the fingers of the seamstresses of the country roundabout were flying; and on the next Sunday, in the white satins and jewels and fardingales [hooped skirts] of a bride, she walked up the aisle the wife of Governor Wentworth.” They remained in New Hampshire with John as governor. The New Hampshire towns of Deering and Francestown were named after her through John's orders. On June 13, 1775, the brink of the American Revolutionary War, the Wentworths fled New Hampshire for England. Eventually they settled in Halifax, Nova Scotia, with John as lieutenant governor. Accustomed to America and England, Frances supposedly hated her life in Nova Scotia, and had an affair with Prince William. When John found out about the affair, he was not upset with her, but he did write to King George III, William's father, and William was called back to England.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Explain the Subject of this artwork, Portrait of Mrs. Theodore Atkinson Jr..

Frances Deering Wentworth (1745–1813) was born into a wealthy and well-connected family. Her parents were Samuel Wentworth and Elizabeth Deering. When she was a young teenager, she had fallen in love with her first cousin, John Wentworth. However, he was too invested in establishing his career, and he left America to go to London. In London he managed his family's business. Back in America, Frances was 16 and fell in love with another one of her first cousins, Theodore Atkinson. They wed on May 13, 1762 and moved into their new home in 1765 in Portsmouth. During this time, Theodore commissioned John Singleton Copley to paint a portrait of his wife to display in their home.In 1767, John Wentworth made his triumphant return to the American colonies. He was well-established and was now the governor of New Hampshire. Theodore had been in poor health for quite some time and it was rumored that Frances and John, both still in love, were having an affair. Theodore died on October 28, 1769, and a burial followed. Fueling the rumors, Frances and John wed the week following Theodore's death. At the time, Frances wedding shortly after her husband's death was the talk of the town and continued to be for some time. In Harriett Elizabeth Prescott Spofford's 1871 book New England Legends, she wrote:  “On one day Theodore breathed his last. His burial took place on the following Wednesday; by the Governor’s order all the bells in town were tolled, flags were hung at half-mast, and minute-guns were fired from the fort and from the ships-of-war in the harbor.  On Sunday the weeping widow, clad in crapes, listened in church to the funeral eulogies; on Monday her affliction was mitigated; on Tuesday all the fingers of the seamstresses of the country roundabout were flying; and on the next Sunday, in the white satins and jewels and fardingales [hooped skirts] of a bride, she walked up the aisle the wife of Governor Wentworth.” They remained in New Hampshire with John as governor. The New Hampshire towns of Deering and Francestown were named after her through John's orders. On June 13, 1775, the brink of the American Revolutionary War, the Wentworths fled New Hampshire for England. Eventually they settled in Halifax, Nova Scotia, with John as lieutenant governor. Accustomed to America and England, Frances supposedly hated her life in Nova Scotia, and had an affair with Prince William. When John found out about the affair, he was not upset with her, but he did write to King George III, William's father, and William was called back to England.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: How does Portrait of Mrs. Theodore Atkinson Jr. explain its Subject?

Frances Deering Wentworth (1745–1813) was born into a wealthy and well-connected family. Her parents were Samuel Wentworth and Elizabeth Deering. When she was a young teenager, she had fallen in love with her first cousin, John Wentworth. However, he was too invested in establishing his career, and he left America to go to London. In London he managed his family's business. Back in America, Frances was 16 and fell in love with another one of her first cousins, Theodore Atkinson. They wed on May 13, 1762 and moved into their new home in 1765 in Portsmouth. During this time, Theodore commissioned John Singleton Copley to paint a portrait of his wife to display in their home.In 1767, John Wentworth made his triumphant return to the American colonies. He was well-established and was now the governor of New Hampshire. Theodore had been in poor health for quite some time and it was rumored that Frances and John, both still in love, were having an affair. Theodore died on October 28, 1769, and a burial followed. Fueling the rumors, Frances and John wed the week following Theodore's death. At the time, Frances wedding shortly after her husband's death was the talk of the town and continued to be for some time. In Harriett Elizabeth Prescott Spofford's 1871 book New England Legends, she wrote:  “On one day Theodore breathed his last. His burial took place on the following Wednesday; by the Governor’s order all the bells in town were tolled, flags were hung at half-mast, and minute-guns were fired from the fort and from the ships-of-war in the harbor.  On Sunday the weeping widow, clad in crapes, listened in church to the funeral eulogies; on Monday her affliction was mitigated; on Tuesday all the fingers of the seamstresses of the country roundabout were flying; and on the next Sunday, in the white satins and jewels and fardingales [hooped skirts] of a bride, she walked up the aisle the wife of Governor Wentworth.” They remained in New Hampshire with John as governor. The New Hampshire towns of Deering and Francestown were named after her through John's orders. On June 13, 1775, the brink of the American Revolutionary War, the Wentworths fled New Hampshire for England. Eventually they settled in Halifax, Nova Scotia, with John as lieutenant governor. Accustomed to America and England, Frances supposedly hated her life in Nova Scotia, and had an affair with Prince William. When John found out about the affair, he was not upset with her, but he did write to King George III, William's father, and William was called back to England.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: In Portrait of Mrs. Theodore Atkinson Jr., how is the Subject discussed?

Frances Deering Wentworth (1745–1813) was born into a wealthy and well-connected family. Her parents were Samuel Wentworth and Elizabeth Deering. When she was a young teenager, she had fallen in love with her first cousin, John Wentworth. However, he was too invested in establishing his career, and he left America to go to London. In London he managed his family's business. Back in America, Frances was 16 and fell in love with another one of her first cousins, Theodore Atkinson. They wed on May 13, 1762 and moved into their new home in 1765 in Portsmouth. During this time, Theodore commissioned John Singleton Copley to paint a portrait of his wife to display in their home.In 1767, John Wentworth made his triumphant return to the American colonies. He was well-established and was now the governor of New Hampshire. Theodore had been in poor health for quite some time and it was rumored that Frances and John, both still in love, were having an affair. Theodore died on October 28, 1769, and a burial followed. Fueling the rumors, Frances and John wed the week following Theodore's death. At the time, Frances wedding shortly after her husband's death was the talk of the town and continued to be for some time. In Harriett Elizabeth Prescott Spofford's 1871 book New England Legends, she wrote:  “On one day Theodore breathed his last. His burial took place on the following Wednesday; by the Governor’s order all the bells in town were tolled, flags were hung at half-mast, and minute-guns were fired from the fort and from the ships-of-war in the harbor.  On Sunday the weeping widow, clad in crapes, listened in church to the funeral eulogies; on Monday her affliction was mitigated; on Tuesday all the fingers of the seamstresses of the country roundabout were flying; and on the next Sunday, in the white satins and jewels and fardingales [hooped skirts] of a bride, she walked up the aisle the wife of Governor Wentworth.” They remained in New Hampshire with John as governor. The New Hampshire towns of Deering and Francestown were named after her through John's orders. On June 13, 1775, the brink of the American Revolutionary War, the Wentworths fled New Hampshire for England. Eventually they settled in Halifax, Nova Scotia, with John as lieutenant governor. Accustomed to America and England, Frances supposedly hated her life in Nova Scotia, and had an affair with Prince William. When John found out about the affair, he was not upset with her, but he did write to King George III, William's father, and William was called back to England.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Focus on Portrait of Mrs. Theodore Atkinson Jr. and explain the Painting.

John Singleton Copley is often regarded as the best portraitist in the American colonies. He received many commissions, among them this commission by Theodore Atkinson Jr. Copley painted this portrait of Frances Deering Wentworth when she was 19 years old, and two years after her marriage to Theodore Atkinson Jr. In the painting she is dressed in the height of fashion with her tight bodice of grey-blue satin. She wears a pearl choker, which accents the tiny pearls woven into her hair. One hand grips the edge of the table while the other hand holds the gold chained leash to her pet flying squirrel. In colonial America the flying squirrel was kept as a domesticated pet by the elite. The placement of the flying squirrel in the young wife's portrait highlights her role as wife and colonist.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Explain the Painting of this artwork, Portrait of Mrs. Theodore Atkinson Jr..

John Singleton Copley is often regarded as the best portraitist in the American colonies. He received many commissions, among them this commission by Theodore Atkinson Jr. Copley painted this portrait of Frances Deering Wentworth when she was 19 years old, and two years after her marriage to Theodore Atkinson Jr. In the painting she is dressed in the height of fashion with her tight bodice of grey-blue satin. She wears a pearl choker, which accents the tiny pearls woven into her hair. One hand grips the edge of the table while the other hand holds the gold chained leash to her pet flying squirrel. In colonial America the flying squirrel was kept as a domesticated pet by the elite. The placement of the flying squirrel in the young wife's portrait highlights her role as wife and colonist.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: How does Portrait of Mrs. Theodore Atkinson Jr. explain its Painting?

John Singleton Copley is often regarded as the best portraitist in the American colonies. He received many commissions, among them this commission by Theodore Atkinson Jr. Copley painted this portrait of Frances Deering Wentworth when she was 19 years old, and two years after her marriage to Theodore Atkinson Jr. In the painting she is dressed in the height of fashion with her tight bodice of grey-blue satin. She wears a pearl choker, which accents the tiny pearls woven into her hair. One hand grips the edge of the table while the other hand holds the gold chained leash to her pet flying squirrel. In colonial America the flying squirrel was kept as a domesticated pet by the elite. The placement of the flying squirrel in the young wife's portrait highlights her role as wife and colonist.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: In Portrait of Mrs. Theodore Atkinson Jr., how is the Painting discussed?

John Singleton Copley is often regarded as the best portraitist in the American colonies. He received many commissions, among them this commission by Theodore Atkinson Jr. Copley painted this portrait of Frances Deering Wentworth when she was 19 years old, and two years after her marriage to Theodore Atkinson Jr. In the painting she is dressed in the height of fashion with her tight bodice of grey-blue satin. She wears a pearl choker, which accents the tiny pearls woven into her hair. One hand grips the edge of the table while the other hand holds the gold chained leash to her pet flying squirrel. In colonial America the flying squirrel was kept as a domesticated pet by the elite. The placement of the flying squirrel in the young wife's portrait highlights her role as wife and colonist.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Focus on Portrait of Mrs. Theodore Atkinson Jr. and explain the Provenance.

In 1762, Theodore Atkinson Jr. (1737–69) wed Frances Deering Wentworth, the sitter of this portrait. Atkinson commissioned John Singleton Copley, who had painted other portraits for his family, to paint a portrait of his new wife. In 1769, Atkinson perished from consumption, and the portrait went to Atkinson's father, Theodore, Sr. (1697–1779). When Theodore Atkinson, Sr. died in 1779, the painting was bequest to George King Atkinson (d. 1788), a cousin. The painting passed to William King (1765–1820), a nephew of George King Atkinson. His daughter, Frances Atkinson Freeman (b. 1797) inherited the painting in 1820. For decades the painting had been passed from family member to family member, but Frances Atkinson Freeman sold the painting in 1872.The painting was bought by John Fisher Sheafe (1805–82) for his brother-in-law, James Lenox. Lenox was a wealthy American philanthropist, bibliophile, and art collector. He ultimately founded Lenox Library for the public to use his books and see his art collection. The Lenox Library was demolished and the Frick Collection was built by Henry Clay Frick. Upon demolition of the Lenox Library, in 1876, the books and artwork of the Lenox Library were donated along with the contents of the Tilden Trust and Astor Library to form the New York Public Library. The New York Public Library lent it to the Museum of Fine Arts, Boston in 1938 for their John Singleton Copley exhibition. It is listed as no. 7 in the catalogue.In turn the New York Public Library auctioned off the painting as lot 4 at Sotheby's on November 30, 2005. The painting was bought by Crystal Bridges Museum. At the same auction, the Crystal Bridges Museum also bought other works that once resided in the collections of the Lenox Library and New York Public Library, including Portrait of Marquis de Lafayette and Gilbert Stuart's George Washington (The Constable-Hamilton Portrait).

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Explain the Provenance of this artwork, Portrait of Mrs. Theodore Atkinson Jr..

In 1762, Theodore Atkinson Jr. (1737–69) wed Frances Deering Wentworth, the sitter of this portrait. Atkinson commissioned John Singleton Copley, who had painted other portraits for his family, to paint a portrait of his new wife. In 1769, Atkinson perished from consumption, and the portrait went to Atkinson's father, Theodore, Sr. (1697–1779). When Theodore Atkinson, Sr. died in 1779, the painting was bequest to George King Atkinson (d. 1788), a cousin. The painting passed to William King (1765–1820), a nephew of George King Atkinson. His daughter, Frances Atkinson Freeman (b. 1797) inherited the painting in 1820. For decades the painting had been passed from family member to family member, but Frances Atkinson Freeman sold the painting in 1872.The painting was bought by John Fisher Sheafe (1805–82) for his brother-in-law, James Lenox. Lenox was a wealthy American philanthropist, bibliophile, and art collector. He ultimately founded Lenox Library for the public to use his books and see his art collection. The Lenox Library was demolished and the Frick Collection was built by Henry Clay Frick. Upon demolition of the Lenox Library, in 1876, the books and artwork of the Lenox Library were donated along with the contents of the Tilden Trust and Astor Library to form the New York Public Library. The New York Public Library lent it to the Museum of Fine Arts, Boston in 1938 for their John Singleton Copley exhibition. It is listed as no. 7 in the catalogue.In turn the New York Public Library auctioned off the painting as lot 4 at Sotheby's on November 30, 2005. The painting was bought by Crystal Bridges Museum. At the same auction, the Crystal Bridges Museum also bought other works that once resided in the collections of the Lenox Library and New York Public Library, including Portrait of Marquis de Lafayette and Gilbert Stuart's George Washington (The Constable-Hamilton Portrait).

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: How does Portrait of Mrs. Theodore Atkinson Jr. explain its Provenance?

In 1762, Theodore Atkinson Jr. (1737–69) wed Frances Deering Wentworth, the sitter of this portrait. Atkinson commissioned John Singleton Copley, who had painted other portraits for his family, to paint a portrait of his new wife. In 1769, Atkinson perished from consumption, and the portrait went to Atkinson's father, Theodore, Sr. (1697–1779). When Theodore Atkinson, Sr. died in 1779, the painting was bequest to George King Atkinson (d. 1788), a cousin. The painting passed to William King (1765–1820), a nephew of George King Atkinson. His daughter, Frances Atkinson Freeman (b. 1797) inherited the painting in 1820. For decades the painting had been passed from family member to family member, but Frances Atkinson Freeman sold the painting in 1872.The painting was bought by John Fisher Sheafe (1805–82) for his brother-in-law, James Lenox. Lenox was a wealthy American philanthropist, bibliophile, and art collector. He ultimately founded Lenox Library for the public to use his books and see his art collection. The Lenox Library was demolished and the Frick Collection was built by Henry Clay Frick. Upon demolition of the Lenox Library, in 1876, the books and artwork of the Lenox Library were donated along with the contents of the Tilden Trust and Astor Library to form the New York Public Library. The New York Public Library lent it to the Museum of Fine Arts, Boston in 1938 for their John Singleton Copley exhibition. It is listed as no. 7 in the catalogue.In turn the New York Public Library auctioned off the painting as lot 4 at Sotheby's on November 30, 2005. The painting was bought by Crystal Bridges Museum. At the same auction, the Crystal Bridges Museum also bought other works that once resided in the collections of the Lenox Library and New York Public Library, including Portrait of Marquis de Lafayette and Gilbert Stuart's George Washington (The Constable-Hamilton Portrait).

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: In Portrait of Mrs. Theodore Atkinson Jr., how is the Provenance discussed?

In 1762, Theodore Atkinson Jr. (1737–69) wed Frances Deering Wentworth, the sitter of this portrait. Atkinson commissioned John Singleton Copley, who had painted other portraits for his family, to paint a portrait of his new wife. In 1769, Atkinson perished from consumption, and the portrait went to Atkinson's father, Theodore, Sr. (1697–1779). When Theodore Atkinson, Sr. died in 1779, the painting was bequest to George King Atkinson (d. 1788), a cousin. The painting passed to William King (1765–1820), a nephew of George King Atkinson. His daughter, Frances Atkinson Freeman (b. 1797) inherited the painting in 1820. For decades the painting had been passed from family member to family member, but Frances Atkinson Freeman sold the painting in 1872.The painting was bought by John Fisher Sheafe (1805–82) for his brother-in-law, James Lenox. Lenox was a wealthy American philanthropist, bibliophile, and art collector. He ultimately founded Lenox Library for the public to use his books and see his art collection. The Lenox Library was demolished and the Frick Collection was built by Henry Clay Frick. Upon demolition of the Lenox Library, in 1876, the books and artwork of the Lenox Library were donated along with the contents of the Tilden Trust and Astor Library to form the New York Public Library. The New York Public Library lent it to the Museum of Fine Arts, Boston in 1938 for their John Singleton Copley exhibition. It is listed as no. 7 in the catalogue.In turn the New York Public Library auctioned off the painting as lot 4 at Sotheby's on November 30, 2005. The painting was bought by Crystal Bridges Museum. At the same auction, the Crystal Bridges Museum also bought other works that once resided in the collections of the Lenox Library and New York Public Library, including Portrait of Marquis de Lafayette and Gilbert Stuart's George Washington (The Constable-Hamilton Portrait).

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Focus on Portrait of Mrs. Theodore Atkinson Jr. and explain the Related works.

Earlier in 1757, Theodore Atkinson Jr. had commissioned John Singleton Copley to paint his portrait. When Atkinson Jr. was alive, his portrait and this 1765 portrait of Frances Deering Wentworth likely hung together. In April 2017, the paintings were reunited and displayed together for the first time in more than a century at the Crystal Bridges Art Museum.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: Explain the Related works of this artwork, Portrait of Mrs. Theodore Atkinson Jr..

Earlier in 1757, Theodore Atkinson Jr. had commissioned John Singleton Copley to paint his portrait. When Atkinson Jr. was alive, his portrait and this 1765 portrait of Frances Deering Wentworth likely hung together. In April 2017, the paintings were reunited and displayed together for the first time in more than a century at the Crystal Bridges Art Museum.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: How does Portrait of Mrs. Theodore Atkinson Jr. explain its Related works?

Earlier in 1757, Theodore Atkinson Jr. had commissioned John Singleton Copley to paint his portrait. When Atkinson Jr. was alive, his portrait and this 1765 portrait of Frances Deering Wentworth likely hung together. In April 2017, the paintings were reunited and displayed together for the first time in more than a century at the Crystal Bridges Art Museum.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Portrait of Mrs. Theodore Atkinson Jr.

Prompt: In Portrait of Mrs. Theodore Atkinson Jr., how is the Related works discussed?

Earlier in 1757, Theodore Atkinson Jr. had commissioned John Singleton Copley to paint his portrait. When Atkinson Jr. was alive, his portrait and this 1765 portrait of Frances Deering Wentworth likely hung together. In April 2017, the paintings were reunited and displayed together for the first time in more than a century at the Crystal Bridges Art Museum.

Category:Paintings by John Singleton Copley

Category:Collection of the Crystal Bridges Museum of American Art

John Wentworth by [[John Singleton Copley


Evening; Red Tree

Prompt: Focus on Evening; Red Tree and explain the abstract.

Evening; Red Tree (Avond; De rode boom) is an oil-on-canvas painting by the Dutch artist Piet Mondrian from 1908. It is commonly referred to as The Red Tree. The painting is an Expressionist representation of an apple tree with branches that spread wide across the canvas. The Red Tree is the first painting in Mondrian’s Trees series, which defined an important period of evolution in Mondrian’s work as he transitioned to Neoplasticism. Mondrian used The Red Tree to express his views of nature and reality as a complex equilibrium between harsh motion and quiet stillness. The painting displays non-naturalistic colors and simplified tones of red and blue.

Category:Paintings in The Hague
Expressionism
Piet Mondrian
Category:Paintings by Piet Mondrian
File:Piet Mondriaan.jpg
Émile Veraeren’s
thumb
Pointillism
Neoplasticism
Expressionist
The Hague
Category:1900s paintings
Europeana
Oil painting
Gemeentemuseum Den Haag
Émile Verhaeren
Oil on canvas
pointillist
Vincent van Gogh
tonalism
Piet Mondrian, 1872-1944


Evening; Red Tree

Prompt: Explain the abstract of this artwork, Evening; Red Tree.

Evening; Red Tree (Avond; De rode boom) is an oil-on-canvas painting by the Dutch artist Piet Mondrian from 1908. It is commonly referred to as The Red Tree. The painting is an Expressionist representation of an apple tree with branches that spread wide across the canvas. The Red Tree is the first painting in Mondrian’s Trees series, which defined an important period of evolution in Mondrian’s work as he transitioned to Neoplasticism. Mondrian used The Red Tree to express his views of nature and reality as a complex equilibrium between harsh motion and quiet stillness. The painting displays non-naturalistic colors and simplified tones of red and blue.

Category:Paintings in The Hague
Expressionism
Piet Mondrian
Category:Paintings by Piet Mondrian
File:Piet Mondriaan.jpg
Émile Veraeren’s
thumb
Pointillism
Neoplasticism
Expressionist
The Hague
Category:1900s paintings
Europeana
Oil painting
Gemeentemuseum Den Haag
Émile Verhaeren
Oil on canvas
pointillist
Vincent van Gogh
tonalism
Piet Mondrian, 1872-1944


Evening; Red Tree

Prompt: How does Evening; Red Tree explain its abstract?

Evening; Red Tree (Avond; De rode boom) is an oil-on-canvas painting by the Dutch artist Piet Mondrian from 1908. It is commonly referred to as The Red Tree. The painting is an Expressionist representation of an apple tree with branches that spread wide across the canvas. The Red Tree is the first painting in Mondrian’s Trees series, which defined an important period of evolution in Mondrian’s work as he transitioned to Neoplasticism. Mondrian used The Red Tree to express his views of nature and reality as a complex equilibrium between harsh motion and quiet stillness. The painting displays non-naturalistic colors and simplified tones of red and blue.

Category:Paintings in The Hague
Expressionism
Piet Mondrian
Category:Paintings by Piet Mondrian
File:Piet Mondriaan.jpg
Émile Veraeren’s
thumb
Pointillism
Neoplasticism
Expressionist
The Hague
Category:1900s paintings
Europeana
Oil painting
Gemeentemuseum Den Haag
Émile Verhaeren
Oil on canvas
pointillist
Vincent van Gogh
tonalism
Piet Mondrian, 1872-1944


Evening; Red Tree

Prompt: In Evening; Red Tree, how is the abstract discussed?

Evening; Red Tree (Avond; De rode boom) is an oil-on-canvas painting by the Dutch artist Piet Mondrian from 1908. It is commonly referred to as The Red Tree. The painting is an Expressionist representation of an apple tree with branches that spread wide across the canvas. The Red Tree is the first painting in Mondrian’s Trees series, which defined an important period of evolution in Mondrian’s work as he transitioned to Neoplasticism. Mondrian used The Red Tree to express his views of nature and reality as a complex equilibrium between harsh motion and quiet stillness. The painting displays non-naturalistic colors and simplified tones of red and blue.

Category:Paintings in The Hague
Expressionism
Piet Mondrian
Category:Paintings by Piet Mondrian
File:Piet Mondriaan.jpg
Émile Veraeren’s
thumb
Pointillism
Neoplasticism
Expressionist
The Hague
Category:1900s paintings
Europeana
Oil painting
Gemeentemuseum Den Haag
Émile Verhaeren
Oil on canvas
pointillist
Vincent van Gogh
tonalism
Piet Mondrian, 1872-1944