Prompt: Explain the Details of this artwork, Equestrian Portrait of Cornelis and Michiel Pompe van Meerdervoort with Their Tutor and Coachman.

The background is believed to have been sourced from Cuyp's Drawing of Rhine near Elten. Despite this background, there is no known connection between the Pompe van Meerdervoort family and that region. However, a 1994 guide to the Met notes that the landscape near Elten is similar to that of Dordrecht.The dogs are believed to be greyhounds and foxhounds, while the animal on the left of the painting is thought to be a hare. The clothing worn by those pictured would not have been common in the Netherlands and has been described as both Hungarian and Persian. The two boys and their riding instructor are wearing tight-fitting coats, known as dolmans, while the coachman is wearing a looser and heavier coat, known as a mente. The cap worn by Cornelis is similar to a Turkish turban. It has been observed that the heads of the figures are awkwardly painted and this had been attributed to Cuyp's primary focus on landscape painting. The hand gesture of Caulier was originally simply a direction, but would later have been viewed as an indication of who would quickly become the sole heir of the close family.

Category:Group portraits by Dutch artists

Category:Paintings in the Metropolitan Museum of Art

File:Aelbert Cuyp - Horsemen Resting in a Landscape.jpg

Cuyp's ''Horsemen Resting in a Landscape''; they also wear fancy Eastern European costumes. Late 1650s.


Prompt: How does Equestrian Portrait of Cornelis and Michiel Pompe van Meerdervoort with Their Tutor and Coachman explain its Details?

The background is believed to have been sourced from Cuyp's Drawing of Rhine near Elten. Despite this background, there is no known connection between the Pompe van Meerdervoort family and that region. However, a 1994 guide to the Met notes that the landscape near Elten is similar to that of Dordrecht.The dogs are believed to be greyhounds and foxhounds, while the animal on the left of the painting is thought to be a hare. The clothing worn by those pictured would not have been common in the Netherlands and has been described as both Hungarian and Persian. The two boys and their riding instructor are wearing tight-fitting coats, known as dolmans, while the coachman is wearing a looser and heavier coat, known as a mente. The cap worn by Cornelis is similar to a Turkish turban. It has been observed that the heads of the figures are awkwardly painted and this had been attributed to Cuyp's primary focus on landscape painting. The hand gesture of Caulier was originally simply a direction, but would later have been viewed as an indication of who would quickly become the sole heir of the close family.

Category:Group portraits by Dutch artists

Category:Paintings in the Metropolitan Museum of Art

File:Aelbert Cuyp - Horsemen Resting in a Landscape.jpg

Cuyp's ''Horsemen Resting in a Landscape''; they also wear fancy Eastern European costumes. Late 1650s.


Prompt: In Equestrian Portrait of Cornelis and Michiel Pompe van Meerdervoort with Their Tutor and Coachman, how is the Details discussed?

The background is believed to have been sourced from Cuyp's Drawing of Rhine near Elten. Despite this background, there is no known connection between the Pompe van Meerdervoort family and that region. However, a 1994 guide to the Met notes that the landscape near Elten is similar to that of Dordrecht.The dogs are believed to be greyhounds and foxhounds, while the animal on the left of the painting is thought to be a hare. The clothing worn by those pictured would not have been common in the Netherlands and has been described as both Hungarian and Persian. The two boys and their riding instructor are wearing tight-fitting coats, known as dolmans, while the coachman is wearing a looser and heavier coat, known as a mente. The cap worn by Cornelis is similar to a Turkish turban. It has been observed that the heads of the figures are awkwardly painted and this had been attributed to Cuyp's primary focus on landscape painting. The hand gesture of Caulier was originally simply a direction, but would later have been viewed as an indication of who would quickly become the sole heir of the close family.

Category:Group portraits by Dutch artists

Category:Paintings in the Metropolitan Museum of Art

File:Aelbert Cuyp - Horsemen Resting in a Landscape.jpg

Cuyp's ''Horsemen Resting in a Landscape''; they also wear fancy Eastern European costumes. Late 1650s.


Prompt: Focus on Equestrian Portrait of Cornelis and Michiel Pompe van Meerdervoort with Their Tutor and Coachman and explain the Provenance.

It is most likely that the painting was commissioned by Adriana van Beveren, the widowed mother of the two young men, who is known to have been the first owner of the painting. However, it is also possible that the painting was commissioned by their uncle, Matthijs van Slingelandt, or her father, Cornelis van Beveren. After the death of Adriana van Beveren, it passed to Cornelis Pompe van Meerdervoort. It then was passed down through the family with the Huis te Meerdervoort until 1806, when it was sold by Christina Elisabeth Pompe van Meerdervoort, the great granddaughter of Cornelis. It was sold on August 20, 1806 in The Hague as Hunting Party with Three Men on Horses and a Hunter with Dogs in Foreground for 695 Dutch guilders.On April 19–20, 1825, it was sold at the Galerie Lebrun in Paris as Le Partie de Chasse for 17,950 French francs. On May 1–2, 1829, it was sold in London as La Partie de Chasse du Prince d'Orange for £1,102.10. On June 17, 1848, it was sold at Christie's in London as Prince of Orange on a grey horse for £556.10. On May 9–10, 1895, it was again sold at Christie's as The Prince of Orange, with his sons, prepared to depart for the Chase for £2,100. On June 9, 1911, it was sold at the Galerie Georges Petit in Paris as Départ pour la chasse for either 160,000 or 170,000 francs. On June 14, 1913, it was again sold at the Galerie Georges Petit for 145,000 francs. On June 23, 1922, it was sold for the final time at the Galerie Georges Petit for 62,000 francs to Michael Friedsam, who held it until his death, at which time it was bequeathed to the Met. Since being acquired by the Met, it has been exhibited in many other museums in the United States and the Netherlands, including the National Gallery of Art in Washington D.C., the Rijksmuseum in Amsterdam, the Dordrechts Museum, and the Museum of Fine Arts in Boston.

Category:Group portraits by Dutch artists

Category:Paintings in the Metropolitan Museum of Art

File:Aelbert Cuyp - Horsemen Resting in a Landscape.jpg

Cuyp's ''Horsemen Resting in a Landscape''; they also wear fancy Eastern European costumes. Late 1650s.


Prompt: Explain the Provenance of this artwork, Equestrian Portrait of Cornelis and Michiel Pompe van Meerdervoort with Their Tutor and Coachman.

It is most likely that the painting was commissioned by Adriana van Beveren, the widowed mother of the two young men, who is known to have been the first owner of the painting. However, it is also possible that the painting was commissioned by their uncle, Matthijs van Slingelandt, or her father, Cornelis van Beveren. After the death of Adriana van Beveren, it passed to Cornelis Pompe van Meerdervoort. It then was passed down through the family with the Huis te Meerdervoort until 1806, when it was sold by Christina Elisabeth Pompe van Meerdervoort, the great granddaughter of Cornelis. It was sold on August 20, 1806 in The Hague as Hunting Party with Three Men on Horses and a Hunter with Dogs in Foreground for 695 Dutch guilders.On April 19–20, 1825, it was sold at the Galerie Lebrun in Paris as Le Partie de Chasse for 17,950 French francs. On May 1–2, 1829, it was sold in London as La Partie de Chasse du Prince d'Orange for £1,102.10. On June 17, 1848, it was sold at Christie's in London as Prince of Orange on a grey horse for £556.10. On May 9–10, 1895, it was again sold at Christie's as The Prince of Orange, with his sons, prepared to depart for the Chase for £2,100. On June 9, 1911, it was sold at the Galerie Georges Petit in Paris as Départ pour la chasse for either 160,000 or 170,000 francs. On June 14, 1913, it was again sold at the Galerie Georges Petit for 145,000 francs. On June 23, 1922, it was sold for the final time at the Galerie Georges Petit for 62,000 francs to Michael Friedsam, who held it until his death, at which time it was bequeathed to the Met. Since being acquired by the Met, it has been exhibited in many other museums in the United States and the Netherlands, including the National Gallery of Art in Washington D.C., the Rijksmuseum in Amsterdam, the Dordrechts Museum, and the Museum of Fine Arts in Boston.

Category:Group portraits by Dutch artists

Category:Paintings in the Metropolitan Museum of Art

File:Aelbert Cuyp - Horsemen Resting in a Landscape.jpg

Cuyp's ''Horsemen Resting in a Landscape''; they also wear fancy Eastern European costumes. Late 1650s.


Prompt: How does Equestrian Portrait of Cornelis and Michiel Pompe van Meerdervoort with Their Tutor and Coachman explain its Provenance?

It is most likely that the painting was commissioned by Adriana van Beveren, the widowed mother of the two young men, who is known to have been the first owner of the painting. However, it is also possible that the painting was commissioned by their uncle, Matthijs van Slingelandt, or her father, Cornelis van Beveren. After the death of Adriana van Beveren, it passed to Cornelis Pompe van Meerdervoort. It then was passed down through the family with the Huis te Meerdervoort until 1806, when it was sold by Christina Elisabeth Pompe van Meerdervoort, the great granddaughter of Cornelis. It was sold on August 20, 1806 in The Hague as Hunting Party with Three Men on Horses and a Hunter with Dogs in Foreground for 695 Dutch guilders.On April 19–20, 1825, it was sold at the Galerie Lebrun in Paris as Le Partie de Chasse for 17,950 French francs. On May 1–2, 1829, it was sold in London as La Partie de Chasse du Prince d'Orange for £1,102.10. On June 17, 1848, it was sold at Christie's in London as Prince of Orange on a grey horse for £556.10. On May 9–10, 1895, it was again sold at Christie's as The Prince of Orange, with his sons, prepared to depart for the Chase for £2,100. On June 9, 1911, it was sold at the Galerie Georges Petit in Paris as Départ pour la chasse for either 160,000 or 170,000 francs. On June 14, 1913, it was again sold at the Galerie Georges Petit for 145,000 francs. On June 23, 1922, it was sold for the final time at the Galerie Georges Petit for 62,000 francs to Michael Friedsam, who held it until his death, at which time it was bequeathed to the Met. Since being acquired by the Met, it has been exhibited in many other museums in the United States and the Netherlands, including the National Gallery of Art in Washington D.C., the Rijksmuseum in Amsterdam, the Dordrechts Museum, and the Museum of Fine Arts in Boston.

Category:Group portraits by Dutch artists

Category:Paintings in the Metropolitan Museum of Art

File:Aelbert Cuyp - Horsemen Resting in a Landscape.jpg

Cuyp's ''Horsemen Resting in a Landscape''; they also wear fancy Eastern European costumes. Late 1650s.


Prompt: In Equestrian Portrait of Cornelis and Michiel Pompe van Meerdervoort with Their Tutor and Coachman, how is the Provenance discussed?

It is most likely that the painting was commissioned by Adriana van Beveren, the widowed mother of the two young men, who is known to have been the first owner of the painting. However, it is also possible that the painting was commissioned by their uncle, Matthijs van Slingelandt, or her father, Cornelis van Beveren. After the death of Adriana van Beveren, it passed to Cornelis Pompe van Meerdervoort. It then was passed down through the family with the Huis te Meerdervoort until 1806, when it was sold by Christina Elisabeth Pompe van Meerdervoort, the great granddaughter of Cornelis. It was sold on August 20, 1806 in The Hague as Hunting Party with Three Men on Horses and a Hunter with Dogs in Foreground for 695 Dutch guilders.On April 19–20, 1825, it was sold at the Galerie Lebrun in Paris as Le Partie de Chasse for 17,950 French francs. On May 1–2, 1829, it was sold in London as La Partie de Chasse du Prince d'Orange for £1,102.10. On June 17, 1848, it was sold at Christie's in London as Prince of Orange on a grey horse for £556.10. On May 9–10, 1895, it was again sold at Christie's as The Prince of Orange, with his sons, prepared to depart for the Chase for £2,100. On June 9, 1911, it was sold at the Galerie Georges Petit in Paris as Départ pour la chasse for either 160,000 or 170,000 francs. On June 14, 1913, it was again sold at the Galerie Georges Petit for 145,000 francs. On June 23, 1922, it was sold for the final time at the Galerie Georges Petit for 62,000 francs to Michael Friedsam, who held it until his death, at which time it was bequeathed to the Met. Since being acquired by the Met, it has been exhibited in many other museums in the United States and the Netherlands, including the National Gallery of Art in Washington D.C., the Rijksmuseum in Amsterdam, the Dordrechts Museum, and the Museum of Fine Arts in Boston.

Category:Group portraits by Dutch artists

Category:Paintings in the Metropolitan Museum of Art

File:Aelbert Cuyp - Horsemen Resting in a Landscape.jpg

Cuyp's ''Horsemen Resting in a Landscape''; they also wear fancy Eastern European costumes. Late 1650s.


Looking Into My Dreams, Awilda

Prompt: Focus on Looking Into My Dreams, Awilda and explain the abstract.

Looking Into My Dreams, Awilda, or simply Awilda, is a 2012 sculpture by Jaume Plensa.

Dominican
Chicago Tribune
foot
portrait
Jaume Plensa
resin
3D modeling
laser scanner
Category:Outdoor sculptures in Chicago
Category:Resin sculptures
Chicago
Foot (unit)
Guanabara Bay
List of public art in Chicago
Category:Sculptures by Jaume Plensa
Category:2012 sculptures
Pérez Art Museum Miami
3D
Category:Millennium Park
Millennium Park
marble
Dominican Republic
Rio de Janeiro


Looking Into My Dreams, Awilda

Prompt: Explain the abstract of this artwork, Looking Into My Dreams, Awilda.

Looking Into My Dreams, Awilda, or simply Awilda, is a 2012 sculpture by Jaume Plensa.

Dominican
Chicago Tribune
foot
portrait
Jaume Plensa
resin
3D modeling
laser scanner
Category:Outdoor sculptures in Chicago
Category:Resin sculptures
Chicago
Foot (unit)
Guanabara Bay
List of public art in Chicago
Category:Sculptures by Jaume Plensa
Category:2012 sculptures
Pérez Art Museum Miami
3D
Category:Millennium Park
Millennium Park
marble
Dominican Republic
Rio de Janeiro


Looking Into My Dreams, Awilda

Prompt: How does Looking Into My Dreams, Awilda explain its abstract?

Looking Into My Dreams, Awilda, or simply Awilda, is a 2012 sculpture by Jaume Plensa.

Dominican
Chicago Tribune
foot
portrait
Jaume Plensa
resin
3D modeling
laser scanner
Category:Outdoor sculptures in Chicago
Category:Resin sculptures
Chicago
Foot (unit)
Guanabara Bay
List of public art in Chicago
Category:Sculptures by Jaume Plensa
Category:2012 sculptures
Pérez Art Museum Miami
3D
Category:Millennium Park
Millennium Park
marble
Dominican Republic
Rio de Janeiro


Looking Into My Dreams, Awilda

Prompt: In Looking Into My Dreams, Awilda, how is the abstract discussed?

Looking Into My Dreams, Awilda, or simply Awilda, is a 2012 sculpture by Jaume Plensa.

Dominican
Chicago Tribune
foot
portrait
Jaume Plensa
resin
3D modeling
laser scanner
Category:Outdoor sculptures in Chicago
Category:Resin sculptures
Chicago
Foot (unit)
Guanabara Bay
List of public art in Chicago
Category:Sculptures by Jaume Plensa
Category:2012 sculptures
Pérez Art Museum Miami
3D
Category:Millennium Park
Millennium Park
marble
Dominican Republic
Rio de Janeiro


Looking Into My Dreams, Awilda

Prompt: Focus on Looking Into My Dreams, Awilda and explain the Description and history.

The 39-foot tall sculpture originally stood in the surf of Guanabara Bay in Rio de Janeiro, before being moved to Chicago's Millennium Park. It stood in Millennium Park from June 2014 until January 2016. As of March 2017, Awilda stands at the Pérez Art Museum Miami. It is composed of resin and marble dust, with a metal support structure and an internal frame of fiberglass.Awilda is based on a real person, a Dominican girl who came to Spain with her mother, who Plensa knew in Barcelona. Plensa took her portrait with a laser scanner, capturing 3D information to manipulate and scale into larger models.

Dominican
Chicago Tribune
foot
portrait
Jaume Plensa
resin
3D modeling
laser scanner
Category:Outdoor sculptures in Chicago
Category:Resin sculptures
Chicago
Foot (unit)
Guanabara Bay
List of public art in Chicago
Category:Sculptures by Jaume Plensa
Category:2012 sculptures
Pérez Art Museum Miami
3D
Category:Millennium Park
Millennium Park
marble
Dominican Republic
Rio de Janeiro


Looking Into My Dreams, Awilda

Prompt: Explain the Description and history of this artwork, Looking Into My Dreams, Awilda.

The 39-foot tall sculpture originally stood in the surf of Guanabara Bay in Rio de Janeiro, before being moved to Chicago's Millennium Park. It stood in Millennium Park from June 2014 until January 2016. As of March 2017, Awilda stands at the Pérez Art Museum Miami. It is composed of resin and marble dust, with a metal support structure and an internal frame of fiberglass.Awilda is based on a real person, a Dominican girl who came to Spain with her mother, who Plensa knew in Barcelona. Plensa took her portrait with a laser scanner, capturing 3D information to manipulate and scale into larger models.

Dominican
Chicago Tribune
foot
portrait
Jaume Plensa
resin
3D modeling
laser scanner
Category:Outdoor sculptures in Chicago
Category:Resin sculptures
Chicago
Foot (unit)
Guanabara Bay
List of public art in Chicago
Category:Sculptures by Jaume Plensa
Category:2012 sculptures
Pérez Art Museum Miami
3D
Category:Millennium Park
Millennium Park
marble
Dominican Republic
Rio de Janeiro


Looking Into My Dreams, Awilda

Prompt: How does Looking Into My Dreams, Awilda explain its Description and history?

The 39-foot tall sculpture originally stood in the surf of Guanabara Bay in Rio de Janeiro, before being moved to Chicago's Millennium Park. It stood in Millennium Park from June 2014 until January 2016. As of March 2017, Awilda stands at the Pérez Art Museum Miami. It is composed of resin and marble dust, with a metal support structure and an internal frame of fiberglass.Awilda is based on a real person, a Dominican girl who came to Spain with her mother, who Plensa knew in Barcelona. Plensa took her portrait with a laser scanner, capturing 3D information to manipulate and scale into larger models.

Dominican
Chicago Tribune
foot
portrait
Jaume Plensa
resin
3D modeling
laser scanner
Category:Outdoor sculptures in Chicago
Category:Resin sculptures
Chicago
Foot (unit)
Guanabara Bay
List of public art in Chicago
Category:Sculptures by Jaume Plensa
Category:2012 sculptures
Pérez Art Museum Miami
3D
Category:Millennium Park
Millennium Park
marble
Dominican Republic
Rio de Janeiro


Looking Into My Dreams, Awilda

Prompt: In Looking Into My Dreams, Awilda, how is the Description and history discussed?

The 39-foot tall sculpture originally stood in the surf of Guanabara Bay in Rio de Janeiro, before being moved to Chicago's Millennium Park. It stood in Millennium Park from June 2014 until January 2016. As of March 2017, Awilda stands at the Pérez Art Museum Miami. It is composed of resin and marble dust, with a metal support structure and an internal frame of fiberglass.Awilda is based on a real person, a Dominican girl who came to Spain with her mother, who Plensa knew in Barcelona. Plensa took her portrait with a laser scanner, capturing 3D information to manipulate and scale into larger models.

Dominican
Chicago Tribune
foot
portrait
Jaume Plensa
resin
3D modeling
laser scanner
Category:Outdoor sculptures in Chicago
Category:Resin sculptures
Chicago
Foot (unit)
Guanabara Bay
List of public art in Chicago
Category:Sculptures by Jaume Plensa
Category:2012 sculptures
Pérez Art Museum Miami
3D
Category:Millennium Park
Millennium Park
marble
Dominican Republic
Rio de Janeiro


The Beaneater

Prompt: Focus on The Beaneater and explain the abstract.

The Beaneater (Italian: Mangiafagioli) is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 (probably 1583–1584), it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop (now at Oxford), for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works (such as the broadly contemporary Assumption of the Virgin) he was able to use a more classicist composure with the same ease.

Galleria Colonna
Westview Press
Baroque
Category:Oil on canvas paintings
Rome
Palazzo Colonna
Italian
Butcher's Shop (Annibale Carracci)
Assumption of the Virgin
Annibale Carracci
Italy
Category:1580s paintings
Category:Food and drink paintings
Assumption of the Virgin (Carracci)
Bartolomeo Passarotti
Vincenzo Campi
Category:Paintings by Annibale Carracci
Butcher's Shop


The Beaneater

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

The Beaneater (Italian: Mangiafagioli) is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 (probably 1583–1584), it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop (now at Oxford), for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works (such as the broadly contemporary Assumption of the Virgin) he was able to use a more classicist composure with the same ease.

Galleria Colonna
Westview Press
Baroque
Category:Oil on canvas paintings
Rome
Palazzo Colonna
Italian
Butcher's Shop (Annibale Carracci)
Assumption of the Virgin
Annibale Carracci
Italy
Category:1580s paintings
Category:Food and drink paintings
Assumption of the Virgin (Carracci)
Bartolomeo Passarotti
Vincenzo Campi
Category:Paintings by Annibale Carracci
Butcher's Shop


The Beaneater

Prompt: How does The Beaneater explain its abstract?

The Beaneater (Italian: Mangiafagioli) is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 (probably 1583–1584), it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop (now at Oxford), for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works (such as the broadly contemporary Assumption of the Virgin) he was able to use a more classicist composure with the same ease.

Galleria Colonna
Westview Press
Baroque
Category:Oil on canvas paintings
Rome
Palazzo Colonna
Italian
Butcher's Shop (Annibale Carracci)
Assumption of the Virgin
Annibale Carracci
Italy
Category:1580s paintings
Category:Food and drink paintings
Assumption of the Virgin (Carracci)
Bartolomeo Passarotti
Vincenzo Campi
Category:Paintings by Annibale Carracci
Butcher's Shop


The Beaneater

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

The Beaneater (Italian: Mangiafagioli) is a painting by the Italian Baroque painter Annibale Carracci. Dating from 1580 to 1590 (probably 1583–1584), it is housed in the gallery of Palazzo Colonna of Rome.The painting is connected to the contemporary Butcher's Shop (now at Oxford), for it shares the same popular style. Painted in Bologna, it is a broadly and realistically painted still life, which owes much to Flanders and Holland.Carracci was also influenced in the depiction of everyday life subjects by Vincenzo Campi and Bartolomeo Passarotti. Manifest is Carracci's capability to adapt his style, making it "lower" when concerning "lower" subjects like the Mangiafagioli, while in his more academic works (such as the broadly contemporary Assumption of the Virgin) he was able to use a more classicist composure with the same ease.

Galleria Colonna
Westview Press
Baroque
Category:Oil on canvas paintings
Rome
Palazzo Colonna
Italian
Butcher's Shop (Annibale Carracci)
Assumption of the Virgin
Annibale Carracci
Italy
Category:1580s paintings
Category:Food and drink paintings
Assumption of the Virgin (Carracci)
Bartolomeo Passarotti
Vincenzo Campi
Category:Paintings by Annibale Carracci
Butcher's Shop


The Beaneater

Prompt: Focus on The Beaneater and explain the Elsewhere.

Galleria Colonna
Westview Press
Baroque
Category:Oil on canvas paintings
Rome
Palazzo Colonna
Italian
Butcher's Shop (Annibale Carracci)
Assumption of the Virgin
Annibale Carracci
Italy
Category:1580s paintings
Category:Food and drink paintings
Assumption of the Virgin (Carracci)
Bartolomeo Passarotti
Vincenzo Campi
Category:Paintings by Annibale Carracci
Butcher's Shop


The Beaneater

Prompt: Explain the Elsewhere of this artwork, The Beaneater.

Galleria Colonna
Westview Press
Baroque
Category:Oil on canvas paintings
Rome
Palazzo Colonna
Italian
Butcher's Shop (Annibale Carracci)
Assumption of the Virgin
Annibale Carracci
Italy
Category:1580s paintings
Category:Food and drink paintings
Assumption of the Virgin (Carracci)
Bartolomeo Passarotti
Vincenzo Campi
Category:Paintings by Annibale Carracci
Butcher's Shop


The Beaneater

Prompt: How does The Beaneater explain its Elsewhere?

Galleria Colonna
Westview Press
Baroque
Category:Oil on canvas paintings
Rome
Palazzo Colonna
Italian
Butcher's Shop (Annibale Carracci)
Assumption of the Virgin
Annibale Carracci
Italy
Category:1580s paintings
Category:Food and drink paintings
Assumption of the Virgin (Carracci)
Bartolomeo Passarotti
Vincenzo Campi
Category:Paintings by Annibale Carracci
Butcher's Shop


The Beaneater

Prompt: In The Beaneater, how is the Elsewhere discussed?

Galleria Colonna
Westview Press
Baroque
Category:Oil on canvas paintings
Rome
Palazzo Colonna
Italian
Butcher's Shop (Annibale Carracci)
Assumption of the Virgin
Annibale Carracci
Italy
Category:1580s paintings
Category:Food and drink paintings
Assumption of the Virgin (Carracci)
Bartolomeo Passarotti
Vincenzo Campi
Category:Paintings by Annibale Carracci
Butcher's Shop


Houses at l'Estaque

Prompt: Focus on Houses at l'Estaque and explain the abstract.

Houses at l'Estaque (French: Maisons à l'Estaque, or Maisons et arbre) is an oil-on-canvas painting by Georges Braque executed in 1908. It is considered either an important Proto-Cubist landscape or the first Cubist landscape. The painting prompted art critic Henri Matisse to mock it as being composed of cubes which led to the name of the movement.It is a response to works by Paul Cézanne who also lived in L'Estaque at times.

File:Georges Braque, 1908, Maisons à l'Estaque (Houses at L'Estaque), oil on canvas, 73 x 59.5 cm, Kunst Museum Bern.jpg

Lille Métropole Museum of Modern, Contemporary and Outsider Art

Georges Braque, 1908, ''Maisons à l'Estaque'' (''Houses at l'Estaque''), oil on canvas, 73 x 59.5 cm, [[Museum of Fine Arts Bern


Houses at l'Estaque

Prompt: Explain the abstract of this artwork, Houses at l'Estaque.

Houses at l'Estaque (French: Maisons à l'Estaque, or Maisons et arbre) is an oil-on-canvas painting by Georges Braque executed in 1908. It is considered either an important Proto-Cubist landscape or the first Cubist landscape. The painting prompted art critic Henri Matisse to mock it as being composed of cubes which led to the name of the movement.It is a response to works by Paul Cézanne who also lived in L'Estaque at times.

File:Georges Braque, 1908, Maisons à l'Estaque (Houses at L'Estaque), oil on canvas, 73 x 59.5 cm, Kunst Museum Bern.jpg

Lille Métropole Museum of Modern, Contemporary and Outsider Art

Georges Braque, 1908, ''Maisons à l'Estaque'' (''Houses at l'Estaque''), oil on canvas, 73 x 59.5 cm, [[Museum of Fine Arts Bern


Houses at l'Estaque

Prompt: How does Houses at l'Estaque explain its abstract?

Houses at l'Estaque (French: Maisons à l'Estaque, or Maisons et arbre) is an oil-on-canvas painting by Georges Braque executed in 1908. It is considered either an important Proto-Cubist landscape or the first Cubist landscape. The painting prompted art critic Henri Matisse to mock it as being composed of cubes which led to the name of the movement.It is a response to works by Paul Cézanne who also lived in L'Estaque at times.

File:Georges Braque, 1908, Maisons à l'Estaque (Houses at L'Estaque), oil on canvas, 73 x 59.5 cm, Kunst Museum Bern.jpg

Lille Métropole Museum of Modern, Contemporary and Outsider Art

Georges Braque, 1908, ''Maisons à l'Estaque'' (''Houses at l'Estaque''), oil on canvas, 73 x 59.5 cm, [[Museum of Fine Arts Bern


Houses at l'Estaque

Prompt: In Houses at l'Estaque, how is the abstract discussed?

Houses at l'Estaque (French: Maisons à l'Estaque, or Maisons et arbre) is an oil-on-canvas painting by Georges Braque executed in 1908. It is considered either an important Proto-Cubist landscape or the first Cubist landscape. The painting prompted art critic Henri Matisse to mock it as being composed of cubes which led to the name of the movement.It is a response to works by Paul Cézanne who also lived in L'Estaque at times.

File:Georges Braque, 1908, Maisons à l'Estaque (Houses at L'Estaque), oil on canvas, 73 x 59.5 cm, Kunst Museum Bern.jpg

Lille Métropole Museum of Modern, Contemporary and Outsider Art

Georges Braque, 1908, ''Maisons à l'Estaque'' (''Houses at l'Estaque''), oil on canvas, 73 x 59.5 cm, [[Museum of Fine Arts Bern


Houses at l'Estaque

Prompt: Focus on Houses at l'Estaque and explain the History.

This painting by Braque was refused at the Salon d'Automne in 1908. Louis Vauxcelles recounted how Henri Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Six landscapes painted at L'Estaque signed Georges Braque were presented to the Jury of the Salon d'Automne: Guérin, Marquet, Rouault and Matisse rejected Braque's entire submission. Guérin and Marquet elected to keep two in play. Braque withdrew the two in protest, placing the blame on Matisse.Houses at l'Estaque is a Proto-Cubist painting consisting both of Cézannian trees and houses depicted in the absence of any unifying perspective. Houses in the background do, however, appear smaller than those of the foreground, consistent with classical perspective. Following the rejection of Braque's paintings, Daniel-Henry Kahnweiler offers the artist a one-person show at his gallery on a small street situated behind La Madeleine, Paris. Apollinaire writes of the paintings exhibited nothing about cubes, but mentions "the synthetic motifs he paints" and that he "no longer owes anything to his surroundings". It was Vauxcelles who called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes".

File:Georges Braque, 1908, Maisons à l'Estaque (Houses at L'Estaque), oil on canvas, 73 x 59.5 cm, Kunst Museum Bern.jpg

Lille Métropole Museum of Modern, Contemporary and Outsider Art

Georges Braque, 1908, ''Maisons à l'Estaque'' (''Houses at l'Estaque''), oil on canvas, 73 x 59.5 cm, [[Museum of Fine Arts Bern


Houses at l'Estaque

Prompt: Explain the History of this artwork, Houses at l'Estaque.

This painting by Braque was refused at the Salon d'Automne in 1908. Louis Vauxcelles recounted how Henri Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Six landscapes painted at L'Estaque signed Georges Braque were presented to the Jury of the Salon d'Automne: Guérin, Marquet, Rouault and Matisse rejected Braque's entire submission. Guérin and Marquet elected to keep two in play. Braque withdrew the two in protest, placing the blame on Matisse.Houses at l'Estaque is a Proto-Cubist painting consisting both of Cézannian trees and houses depicted in the absence of any unifying perspective. Houses in the background do, however, appear smaller than those of the foreground, consistent with classical perspective. Following the rejection of Braque's paintings, Daniel-Henry Kahnweiler offers the artist a one-person show at his gallery on a small street situated behind La Madeleine, Paris. Apollinaire writes of the paintings exhibited nothing about cubes, but mentions "the synthetic motifs he paints" and that he "no longer owes anything to his surroundings". It was Vauxcelles who called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes".

File:Georges Braque, 1908, Maisons à l'Estaque (Houses at L'Estaque), oil on canvas, 73 x 59.5 cm, Kunst Museum Bern.jpg

Lille Métropole Museum of Modern, Contemporary and Outsider Art

Georges Braque, 1908, ''Maisons à l'Estaque'' (''Houses at l'Estaque''), oil on canvas, 73 x 59.5 cm, [[Museum of Fine Arts Bern


Houses at l'Estaque

Prompt: How does Houses at l'Estaque explain its History?

This painting by Braque was refused at the Salon d'Automne in 1908. Louis Vauxcelles recounted how Henri Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Six landscapes painted at L'Estaque signed Georges Braque were presented to the Jury of the Salon d'Automne: Guérin, Marquet, Rouault and Matisse rejected Braque's entire submission. Guérin and Marquet elected to keep two in play. Braque withdrew the two in protest, placing the blame on Matisse.Houses at l'Estaque is a Proto-Cubist painting consisting both of Cézannian trees and houses depicted in the absence of any unifying perspective. Houses in the background do, however, appear smaller than those of the foreground, consistent with classical perspective. Following the rejection of Braque's paintings, Daniel-Henry Kahnweiler offers the artist a one-person show at his gallery on a small street situated behind La Madeleine, Paris. Apollinaire writes of the paintings exhibited nothing about cubes, but mentions "the synthetic motifs he paints" and that he "no longer owes anything to his surroundings". It was Vauxcelles who called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes".

File:Georges Braque, 1908, Maisons à l'Estaque (Houses at L'Estaque), oil on canvas, 73 x 59.5 cm, Kunst Museum Bern.jpg

Lille Métropole Museum of Modern, Contemporary and Outsider Art

Georges Braque, 1908, ''Maisons à l'Estaque'' (''Houses at l'Estaque''), oil on canvas, 73 x 59.5 cm, [[Museum of Fine Arts Bern


Houses at l'Estaque

Prompt: In Houses at l'Estaque, how is the History discussed?

This painting by Braque was refused at the Salon d'Automne in 1908. Louis Vauxcelles recounted how Henri Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. Six landscapes painted at L'Estaque signed Georges Braque were presented to the Jury of the Salon d'Automne: Guérin, Marquet, Rouault and Matisse rejected Braque's entire submission. Guérin and Marquet elected to keep two in play. Braque withdrew the two in protest, placing the blame on Matisse.Houses at l'Estaque is a Proto-Cubist painting consisting both of Cézannian trees and houses depicted in the absence of any unifying perspective. Houses in the background do, however, appear smaller than those of the foreground, consistent with classical perspective. Following the rejection of Braque's paintings, Daniel-Henry Kahnweiler offers the artist a one-person show at his gallery on a small street situated behind La Madeleine, Paris. Apollinaire writes of the paintings exhibited nothing about cubes, but mentions "the synthetic motifs he paints" and that he "no longer owes anything to his surroundings". It was Vauxcelles who called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes".

File:Georges Braque, 1908, Maisons à l'Estaque (Houses at L'Estaque), oil on canvas, 73 x 59.5 cm, Kunst Museum Bern.jpg

Lille Métropole Museum of Modern, Contemporary and Outsider Art

Georges Braque, 1908, ''Maisons à l'Estaque'' (''Houses at l'Estaque''), oil on canvas, 73 x 59.5 cm, [[Museum of Fine Arts Bern


The Fisherman and the Syren

Prompt: Focus on The Fisherman and the Syren and explain the abstract.

The Fisherman and the Syren is an oil painting by Frederic Leighton, first exhibited in 1858. It is a composition of two small full-length figures, a mermaid clasping a fisherman round the neck. The picture is in the collection of the Bristol Museum & Art Gallery.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: Explain the abstract of this artwork, The Fisherman and the Syren.

The Fisherman and the Syren is an oil painting by Frederic Leighton, first exhibited in 1858. It is a composition of two small full-length figures, a mermaid clasping a fisherman round the neck. The picture is in the collection of the Bristol Museum & Art Gallery.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: How does The Fisherman and the Syren explain its abstract?

The Fisherman and the Syren is an oil painting by Frederic Leighton, first exhibited in 1858. It is a composition of two small full-length figures, a mermaid clasping a fisherman round the neck. The picture is in the collection of the Bristol Museum & Art Gallery.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: In The Fisherman and the Syren, how is the abstract discussed?

The Fisherman and the Syren is an oil painting by Frederic Leighton, first exhibited in 1858. It is a composition of two small full-length figures, a mermaid clasping a fisherman round the neck. The picture is in the collection of the Bristol Museum & Art Gallery.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: Focus on The Fisherman and the Syren and explain the Description.

The painting is a composition of two figures with rocks and the sea. A young Sicilian fisherman slipping asleep down a rock into the tide is grasped round the neck by a water-nymph. He is swarthy in complexion, with dark curly hair, and nude save only for a crimson loin-cloth, his purple drapery being cast aside upon the grey rocks. The nymph is nude and blonde; her long, wavy brown hair is laced with pearls.The subject is taken from "Der Fischer", a ballad by Goethe written in 1779:Half drew she him,Half sunk he in,And never more was seen.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: Explain the Description of this artwork, The Fisherman and the Syren.

The painting is a composition of two figures with rocks and the sea. A young Sicilian fisherman slipping asleep down a rock into the tide is grasped round the neck by a water-nymph. He is swarthy in complexion, with dark curly hair, and nude save only for a crimson loin-cloth, his purple drapery being cast aside upon the grey rocks. The nymph is nude and blonde; her long, wavy brown hair is laced with pearls.The subject is taken from "Der Fischer", a ballad by Goethe written in 1779:Half drew she him,Half sunk he in,And never more was seen.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: How does The Fisherman and the Syren explain its Description?

The painting is a composition of two figures with rocks and the sea. A young Sicilian fisherman slipping asleep down a rock into the tide is grasped round the neck by a water-nymph. He is swarthy in complexion, with dark curly hair, and nude save only for a crimson loin-cloth, his purple drapery being cast aside upon the grey rocks. The nymph is nude and blonde; her long, wavy brown hair is laced with pearls.The subject is taken from "Der Fischer", a ballad by Goethe written in 1779:Half drew she him,Half sunk he in,And never more was seen.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: In The Fisherman and the Syren, how is the Description discussed?

The painting is a composition of two figures with rocks and the sea. A young Sicilian fisherman slipping asleep down a rock into the tide is grasped round the neck by a water-nymph. He is swarthy in complexion, with dark curly hair, and nude save only for a crimson loin-cloth, his purple drapery being cast aside upon the grey rocks. The nymph is nude and blonde; her long, wavy brown hair is laced with pearls.The subject is taken from "Der Fischer", a ballad by Goethe written in 1779:Half drew she him,Half sunk he in,And never more was seen.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: Focus on The Fisherman and the Syren and explain the Analysis.

According to Jones, et al., Leighton's literary pictures "suggest a preoccupation with women as destroyers", and The Fisherman and the Syren represents that theme "quite unequivocally". Leighton here explores the femme fatale archetype that became popular in Victorian art, notably in the work of the Symbolists. In 1861, in a letter to his father, Leighton explained that the picture was "as little naturalistic as anything could be".

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: Explain the Analysis of this artwork, The Fisherman and the Syren.

According to Jones, et al., Leighton's literary pictures "suggest a preoccupation with women as destroyers", and The Fisherman and the Syren represents that theme "quite unequivocally". Leighton here explores the femme fatale archetype that became popular in Victorian art, notably in the work of the Symbolists. In 1861, in a letter to his father, Leighton explained that the picture was "as little naturalistic as anything could be".

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: How does The Fisherman and the Syren explain its Analysis?

According to Jones, et al., Leighton's literary pictures "suggest a preoccupation with women as destroyers", and The Fisherman and the Syren represents that theme "quite unequivocally". Leighton here explores the femme fatale archetype that became popular in Victorian art, notably in the work of the Symbolists. In 1861, in a letter to his father, Leighton explained that the picture was "as little naturalistic as anything could be".

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: In The Fisherman and the Syren, how is the Analysis discussed?

According to Jones, et al., Leighton's literary pictures "suggest a preoccupation with women as destroyers", and The Fisherman and the Syren represents that theme "quite unequivocally". Leighton here explores the femme fatale archetype that became popular in Victorian art, notably in the work of the Symbolists. In 1861, in a letter to his father, Leighton explained that the picture was "as little naturalistic as anything could be".

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: Focus on The Fisherman and the Syren and explain the History.

In 1858, Leighton was represented on the Royal Academy walls by two pictures: The Fisherman and the Syren, and The County Paris, accompanied by Friar Lawrence, comes to the house of the Capulets to claim his bride, both small canvases painted in Rome and in Paris.The Fisherman and the Syren, which was painted for Signor Mario, the famous singer, initially received little friendly criticism, and the reception was generally lukewarm. However, a positive review appeared in The Daily Telegraph:The picture is not of any commanding size, nor does it relate any very exciting legend. The story is of the mystic Undine tinge, and with a shadowy semblance  in it to that strange legend, current among the peasants of Southern Russia, of the "white Lady" with the long hair, who, with loving and languishing gestures, decoys the unwary into her fantastic skiff, then, pressing her baleful lips to theirs, folds them to her fell embrace, and drags them shrieking beneath the engulphing waves. The "Fisherman and Syren" of Mr. Leighton has something of this unreal, legendary fatality pervading it throughout. There is irresistible seductiveness on the one side, pusillanimous fondness on the other. That it is all over with the Fisherman, and that the Syren will have her wicked will of him to his destruction, is palpable. But it is not alone for the admirable manner in which the story is told that we commend this picture. The drawing is eruditely correct, most graceful, and most symmetrical. The Syren is a model of form in its most charming undulations. The Fisherman is a type of manly elegance. That Mr. Leighton understands, to its remotest substructure, the vital principle of the line of beauty, is pleasurably manifest. But there is evidence here even more pleasing that the painter, in the gift of a glowing imagination, and a refined ideality, in his mastery of the nobler parts of pictorial manipulation, is worthy to be reckoned among the glorious brotherhood of disciples of the Italian masters—of the Grand Old Men whose pictures, faded and time-worn as they are, in the National Gallery hard by, laugh to scorn the futile fripperies that depend for half their sheen on gilt frames and copal varnish. This young artist is one of Lanzi's and Vasari's men. He has plainly drunk long and eagerly at the Painter's Castaly: the fount of  beauty and of grace that assuaged the thirst of those who painted the "Monna Lisa" and the "Belle Gardinière;" who modelled the "Horned Moses" and the "Slave;" who designed Peter's great Basilica, and the Ghiberti Gates at Florence.The picture was shown again in the 1897 retrospective exhibition of Leighton's art. It was first entitled The Fisherman and Syren, and afterwards The Mermaid.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: Explain the History of this artwork, The Fisherman and the Syren.

In 1858, Leighton was represented on the Royal Academy walls by two pictures: The Fisherman and the Syren, and The County Paris, accompanied by Friar Lawrence, comes to the house of the Capulets to claim his bride, both small canvases painted in Rome and in Paris.The Fisherman and the Syren, which was painted for Signor Mario, the famous singer, initially received little friendly criticism, and the reception was generally lukewarm. However, a positive review appeared in The Daily Telegraph:The picture is not of any commanding size, nor does it relate any very exciting legend. The story is of the mystic Undine tinge, and with a shadowy semblance  in it to that strange legend, current among the peasants of Southern Russia, of the "white Lady" with the long hair, who, with loving and languishing gestures, decoys the unwary into her fantastic skiff, then, pressing her baleful lips to theirs, folds them to her fell embrace, and drags them shrieking beneath the engulphing waves. The "Fisherman and Syren" of Mr. Leighton has something of this unreal, legendary fatality pervading it throughout. There is irresistible seductiveness on the one side, pusillanimous fondness on the other. That it is all over with the Fisherman, and that the Syren will have her wicked will of him to his destruction, is palpable. But it is not alone for the admirable manner in which the story is told that we commend this picture. The drawing is eruditely correct, most graceful, and most symmetrical. The Syren is a model of form in its most charming undulations. The Fisherman is a type of manly elegance. That Mr. Leighton understands, to its remotest substructure, the vital principle of the line of beauty, is pleasurably manifest. But there is evidence here even more pleasing that the painter, in the gift of a glowing imagination, and a refined ideality, in his mastery of the nobler parts of pictorial manipulation, is worthy to be reckoned among the glorious brotherhood of disciples of the Italian masters—of the Grand Old Men whose pictures, faded and time-worn as they are, in the National Gallery hard by, laugh to scorn the futile fripperies that depend for half their sheen on gilt frames and copal varnish. This young artist is one of Lanzi's and Vasari's men. He has plainly drunk long and eagerly at the Painter's Castaly: the fount of  beauty and of grace that assuaged the thirst of those who painted the "Monna Lisa" and the "Belle Gardinière;" who modelled the "Horned Moses" and the "Slave;" who designed Peter's great Basilica, and the Ghiberti Gates at Florence.The picture was shown again in the 1897 retrospective exhibition of Leighton's art. It was first entitled The Fisherman and Syren, and afterwards The Mermaid.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: How does The Fisherman and the Syren explain its History?

In 1858, Leighton was represented on the Royal Academy walls by two pictures: The Fisherman and the Syren, and The County Paris, accompanied by Friar Lawrence, comes to the house of the Capulets to claim his bride, both small canvases painted in Rome and in Paris.The Fisherman and the Syren, which was painted for Signor Mario, the famous singer, initially received little friendly criticism, and the reception was generally lukewarm. However, a positive review appeared in The Daily Telegraph:The picture is not of any commanding size, nor does it relate any very exciting legend. The story is of the mystic Undine tinge, and with a shadowy semblance  in it to that strange legend, current among the peasants of Southern Russia, of the "white Lady" with the long hair, who, with loving and languishing gestures, decoys the unwary into her fantastic skiff, then, pressing her baleful lips to theirs, folds them to her fell embrace, and drags them shrieking beneath the engulphing waves. The "Fisherman and Syren" of Mr. Leighton has something of this unreal, legendary fatality pervading it throughout. There is irresistible seductiveness on the one side, pusillanimous fondness on the other. That it is all over with the Fisherman, and that the Syren will have her wicked will of him to his destruction, is palpable. But it is not alone for the admirable manner in which the story is told that we commend this picture. The drawing is eruditely correct, most graceful, and most symmetrical. The Syren is a model of form in its most charming undulations. The Fisherman is a type of manly elegance. That Mr. Leighton understands, to its remotest substructure, the vital principle of the line of beauty, is pleasurably manifest. But there is evidence here even more pleasing that the painter, in the gift of a glowing imagination, and a refined ideality, in his mastery of the nobler parts of pictorial manipulation, is worthy to be reckoned among the glorious brotherhood of disciples of the Italian masters—of the Grand Old Men whose pictures, faded and time-worn as they are, in the National Gallery hard by, laugh to scorn the futile fripperies that depend for half their sheen on gilt frames and copal varnish. This young artist is one of Lanzi's and Vasari's men. He has plainly drunk long and eagerly at the Painter's Castaly: the fount of  beauty and of grace that assuaged the thirst of those who painted the "Monna Lisa" and the "Belle Gardinière;" who modelled the "Horned Moses" and the "Slave;" who designed Peter's great Basilica, and the Ghiberti Gates at Florence.The picture was shown again in the 1897 retrospective exhibition of Leighton's art. It was first entitled The Fisherman and Syren, and afterwards The Mermaid.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


The Fisherman and the Syren

Prompt: In The Fisherman and the Syren, how is the History discussed?

In 1858, Leighton was represented on the Royal Academy walls by two pictures: The Fisherman and the Syren, and The County Paris, accompanied by Friar Lawrence, comes to the house of the Capulets to claim his bride, both small canvases painted in Rome and in Paris.The Fisherman and the Syren, which was painted for Signor Mario, the famous singer, initially received little friendly criticism, and the reception was generally lukewarm. However, a positive review appeared in The Daily Telegraph:The picture is not of any commanding size, nor does it relate any very exciting legend. The story is of the mystic Undine tinge, and with a shadowy semblance  in it to that strange legend, current among the peasants of Southern Russia, of the "white Lady" with the long hair, who, with loving and languishing gestures, decoys the unwary into her fantastic skiff, then, pressing her baleful lips to theirs, folds them to her fell embrace, and drags them shrieking beneath the engulphing waves. The "Fisherman and Syren" of Mr. Leighton has something of this unreal, legendary fatality pervading it throughout. There is irresistible seductiveness on the one side, pusillanimous fondness on the other. That it is all over with the Fisherman, and that the Syren will have her wicked will of him to his destruction, is palpable. But it is not alone for the admirable manner in which the story is told that we commend this picture. The drawing is eruditely correct, most graceful, and most symmetrical. The Syren is a model of form in its most charming undulations. The Fisherman is a type of manly elegance. That Mr. Leighton understands, to its remotest substructure, the vital principle of the line of beauty, is pleasurably manifest. But there is evidence here even more pleasing that the painter, in the gift of a glowing imagination, and a refined ideality, in his mastery of the nobler parts of pictorial manipulation, is worthy to be reckoned among the glorious brotherhood of disciples of the Italian masters—of the Grand Old Men whose pictures, faded and time-worn as they are, in the National Gallery hard by, laugh to scorn the futile fripperies that depend for half their sheen on gilt frames and copal varnish. This young artist is one of Lanzi's and Vasari's men. He has plainly drunk long and eagerly at the Painter's Castaly: the fount of  beauty and of grace that assuaged the thirst of those who painted the "Monna Lisa" and the "Belle Gardinière;" who modelled the "Horned Moses" and the "Slave;" who designed Peter's great Basilica, and the Ghiberti Gates at Florence.The picture was shown again in the 1897 retrospective exhibition of Leighton's art. It was first entitled The Fisherman and Syren, and afterwards The Mermaid.

Category:Adaptations of works by Johann Wolfgang von Goethe

File:Frederic Leighton - The Fisherman and the Syren.jpg

Frederic Lord Leighton: An Illustrated Record of his Life and Work


A Procession of Flagellants

Prompt: Focus on A Procession of Flagellants and explain the abstract.

A Procession of Flagellants (Procesión de disciplinantes, or Procesión de flagelantes) is an oil-on-panel painting produced by Francisco de Goya between 1812 and 1819. In the foreground is a procession of Roman Catholic men dressed in white, wearing pointed hats and whipping their bared backs in penitence. Their backs are bleeding and they pull over-life-size statues of Nuestra Señora dela Soledad, the Ecce Homo and the Crucifixion of Christ. Other devotees, who are kneeling and wearing black hoods, line the route. On the right a man is impaled and all are carrying banners, crosses and lamps.The painting belongs to a series which also includes The Inquisition Tribunal, The Madhouse and The Bullfight. This series illustrates aspects of Spanish life which liberals (of whom Goya was then one) wished to reform but whose reform was opposed by Ferdinand VII of Spain's absolutist policy. A common feature of the series is the presence of cruelty, here shown by the blood flowing out onto the white garment of the central figure, and two contrasting zones of light and dark – here, all the figures in the foreground are in the light, well-characterised and individualised, but the background is left as an anonymous crowd of the faithful, dimly lit under a cloudy blue sky. The two zones are divided by a dark wall, possibly symbolising the heavy weight of religion.The series played an important part in creating the legend of 'Black Spain'. It does not go beyond the usual point of view on the Spanish mindset of its era among most other Europeans, interested in Spain as an exotic and picturesque land, an interest first aroused by the French contact with Spain that led to the Peninsular War. Paintings such as these, with a terrible and romantic aura, inspired several later prints.

Nuestra Señora dela Soledad de Porta Vaga

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


A Procession of Flagellants

Prompt: Explain the abstract of this artwork, A Procession of Flagellants.

A Procession of Flagellants (Procesión de disciplinantes, or Procesión de flagelantes) is an oil-on-panel painting produced by Francisco de Goya between 1812 and 1819. In the foreground is a procession of Roman Catholic men dressed in white, wearing pointed hats and whipping their bared backs in penitence. Their backs are bleeding and they pull over-life-size statues of Nuestra Señora dela Soledad, the Ecce Homo and the Crucifixion of Christ. Other devotees, who are kneeling and wearing black hoods, line the route. On the right a man is impaled and all are carrying banners, crosses and lamps.The painting belongs to a series which also includes The Inquisition Tribunal, The Madhouse and The Bullfight. This series illustrates aspects of Spanish life which liberals (of whom Goya was then one) wished to reform but whose reform was opposed by Ferdinand VII of Spain's absolutist policy. A common feature of the series is the presence of cruelty, here shown by the blood flowing out onto the white garment of the central figure, and two contrasting zones of light and dark – here, all the figures in the foreground are in the light, well-characterised and individualised, but the background is left as an anonymous crowd of the faithful, dimly lit under a cloudy blue sky. The two zones are divided by a dark wall, possibly symbolising the heavy weight of religion.The series played an important part in creating the legend of 'Black Spain'. It does not go beyond the usual point of view on the Spanish mindset of its era among most other Europeans, interested in Spain as an exotic and picturesque land, an interest first aroused by the French contact with Spain that led to the Peninsular War. Paintings such as these, with a terrible and romantic aura, inspired several later prints.

Nuestra Señora dela Soledad de Porta Vaga

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


A Procession of Flagellants

Prompt: How does A Procession of Flagellants explain its abstract?

A Procession of Flagellants (Procesión de disciplinantes, or Procesión de flagelantes) is an oil-on-panel painting produced by Francisco de Goya between 1812 and 1819. In the foreground is a procession of Roman Catholic men dressed in white, wearing pointed hats and whipping their bared backs in penitence. Their backs are bleeding and they pull over-life-size statues of Nuestra Señora dela Soledad, the Ecce Homo and the Crucifixion of Christ. Other devotees, who are kneeling and wearing black hoods, line the route. On the right a man is impaled and all are carrying banners, crosses and lamps.The painting belongs to a series which also includes The Inquisition Tribunal, The Madhouse and The Bullfight. This series illustrates aspects of Spanish life which liberals (of whom Goya was then one) wished to reform but whose reform was opposed by Ferdinand VII of Spain's absolutist policy. A common feature of the series is the presence of cruelty, here shown by the blood flowing out onto the white garment of the central figure, and two contrasting zones of light and dark – here, all the figures in the foreground are in the light, well-characterised and individualised, but the background is left as an anonymous crowd of the faithful, dimly lit under a cloudy blue sky. The two zones are divided by a dark wall, possibly symbolising the heavy weight of religion.The series played an important part in creating the legend of 'Black Spain'. It does not go beyond the usual point of view on the Spanish mindset of its era among most other Europeans, interested in Spain as an exotic and picturesque land, an interest first aroused by the French contact with Spain that led to the Peninsular War. Paintings such as these, with a terrible and romantic aura, inspired several later prints.

Nuestra Señora dela Soledad de Porta Vaga

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


A Procession of Flagellants

Prompt: In A Procession of Flagellants, how is the abstract discussed?

A Procession of Flagellants (Procesión de disciplinantes, or Procesión de flagelantes) is an oil-on-panel painting produced by Francisco de Goya between 1812 and 1819. In the foreground is a procession of Roman Catholic men dressed in white, wearing pointed hats and whipping their bared backs in penitence. Their backs are bleeding and they pull over-life-size statues of Nuestra Señora dela Soledad, the Ecce Homo and the Crucifixion of Christ. Other devotees, who are kneeling and wearing black hoods, line the route. On the right a man is impaled and all are carrying banners, crosses and lamps.The painting belongs to a series which also includes The Inquisition Tribunal, The Madhouse and The Bullfight. This series illustrates aspects of Spanish life which liberals (of whom Goya was then one) wished to reform but whose reform was opposed by Ferdinand VII of Spain's absolutist policy. A common feature of the series is the presence of cruelty, here shown by the blood flowing out onto the white garment of the central figure, and two contrasting zones of light and dark – here, all the figures in the foreground are in the light, well-characterised and individualised, but the background is left as an anonymous crowd of the faithful, dimly lit under a cloudy blue sky. The two zones are divided by a dark wall, possibly symbolising the heavy weight of religion.The series played an important part in creating the legend of 'Black Spain'. It does not go beyond the usual point of view on the Spanish mindset of its era among most other Europeans, interested in Spain as an exotic and picturesque land, an interest first aroused by the French contact with Spain that led to the Peninsular War. Paintings such as these, with a terrible and romantic aura, inspired several later prints.

Nuestra Señora dela Soledad de Porta Vaga

Category:Paintings in the Real Academia de Bellas Artes de San Fernando


Vision of Saint Jerome

Prompt: Focus on Vision of Saint Jerome and explain the abstract.

The Vision of Saint Jerome  is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: Explain the abstract of this artwork, Vision of Saint Jerome.

The Vision of Saint Jerome  is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: How does Vision of Saint Jerome explain its abstract?

The Vision of Saint Jerome  is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: In Vision of Saint Jerome, how is the abstract discussed?

The Vision of Saint Jerome  is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: Focus on Vision of Saint Jerome and explain the History.

The work was commissioned on 3 January 1526 in Rome, by Maria Bufalini, wife of Antonio Caccialupi, to decorate the family chapel in the church of San Salvatore in Lauro. The contract mentioned "Francesco Mazola de Parma" and one "Pietro" with the same name, perhaps Parmigianino's uncle Piero Ilario Mazzola. The elongated shape derives from its original destination as part of a triptych, whose sides (never painted) should represent the Immaculate Conception (to which the chapel was dedicated) and the saints Joachim and Anna. According to late Renaissance art biographer Giorgio Vasari, Parmigianino was working to this painting during the Sack of Rome, and he had to stop when the city was ravaged by the imperial troops. He was able to escape paying a ransom, while his uncle remained in Rome, being able to hide the painting  in the refectory of Santa Maria della Pace.In 1558 the Bufalini family decided to move it in their chapel in Sant'Agostino at Città di Castello, from where it was acquired in 1790 by the English painter James Durno. In England, it was sold to the Marquess of Albercon for 1,500 guineas, then, after a series of changes of hand, to the National Gallery, in 1826.There are preparatory drawings in the Musée Condé, the British Museum and other museums, for a total of some twenty. A drawing in the Galleria nazionale di Parma is the one which is more similar to the final version, although showing a horizontal composition.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: Explain the History of this artwork, Vision of Saint Jerome.

The work was commissioned on 3 January 1526 in Rome, by Maria Bufalini, wife of Antonio Caccialupi, to decorate the family chapel in the church of San Salvatore in Lauro. The contract mentioned "Francesco Mazola de Parma" and one "Pietro" with the same name, perhaps Parmigianino's uncle Piero Ilario Mazzola. The elongated shape derives from its original destination as part of a triptych, whose sides (never painted) should represent the Immaculate Conception (to which the chapel was dedicated) and the saints Joachim and Anna. According to late Renaissance art biographer Giorgio Vasari, Parmigianino was working to this painting during the Sack of Rome, and he had to stop when the city was ravaged by the imperial troops. He was able to escape paying a ransom, while his uncle remained in Rome, being able to hide the painting  in the refectory of Santa Maria della Pace.In 1558 the Bufalini family decided to move it in their chapel in Sant'Agostino at Città di Castello, from where it was acquired in 1790 by the English painter James Durno. In England, it was sold to the Marquess of Albercon for 1,500 guineas, then, after a series of changes of hand, to the National Gallery, in 1826.There are preparatory drawings in the Musée Condé, the British Museum and other museums, for a total of some twenty. A drawing in the Galleria nazionale di Parma is the one which is more similar to the final version, although showing a horizontal composition.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: How does Vision of Saint Jerome explain its History?

The work was commissioned on 3 January 1526 in Rome, by Maria Bufalini, wife of Antonio Caccialupi, to decorate the family chapel in the church of San Salvatore in Lauro. The contract mentioned "Francesco Mazola de Parma" and one "Pietro" with the same name, perhaps Parmigianino's uncle Piero Ilario Mazzola. The elongated shape derives from its original destination as part of a triptych, whose sides (never painted) should represent the Immaculate Conception (to which the chapel was dedicated) and the saints Joachim and Anna. According to late Renaissance art biographer Giorgio Vasari, Parmigianino was working to this painting during the Sack of Rome, and he had to stop when the city was ravaged by the imperial troops. He was able to escape paying a ransom, while his uncle remained in Rome, being able to hide the painting  in the refectory of Santa Maria della Pace.In 1558 the Bufalini family decided to move it in their chapel in Sant'Agostino at Città di Castello, from where it was acquired in 1790 by the English painter James Durno. In England, it was sold to the Marquess of Albercon for 1,500 guineas, then, after a series of changes of hand, to the National Gallery, in 1826.There are preparatory drawings in the Musée Condé, the British Museum and other museums, for a total of some twenty. A drawing in the Galleria nazionale di Parma is the one which is more similar to the final version, although showing a horizontal composition.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: In Vision of Saint Jerome, how is the History discussed?

The work was commissioned on 3 January 1526 in Rome, by Maria Bufalini, wife of Antonio Caccialupi, to decorate the family chapel in the church of San Salvatore in Lauro. The contract mentioned "Francesco Mazola de Parma" and one "Pietro" with the same name, perhaps Parmigianino's uncle Piero Ilario Mazzola. The elongated shape derives from its original destination as part of a triptych, whose sides (never painted) should represent the Immaculate Conception (to which the chapel was dedicated) and the saints Joachim and Anna. According to late Renaissance art biographer Giorgio Vasari, Parmigianino was working to this painting during the Sack of Rome, and he had to stop when the city was ravaged by the imperial troops. He was able to escape paying a ransom, while his uncle remained in Rome, being able to hide the painting  in the refectory of Santa Maria della Pace.In 1558 the Bufalini family decided to move it in their chapel in Sant'Agostino at Città di Castello, from where it was acquired in 1790 by the English painter James Durno. In England, it was sold to the Marquess of Albercon for 1,500 guineas, then, after a series of changes of hand, to the National Gallery, in 1826.There are preparatory drawings in the Musée Condé, the British Museum and other museums, for a total of some twenty. A drawing in the Galleria nazionale di Parma is the one which is more similar to the final version, although showing a horizontal composition.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: Focus on Vision of Saint Jerome and explain the Description.

The painting is divided into two narrative sectors: a lower one, with Saint Jerome is sleeping near the crucifix (with his traditional symbol, the cardinal hat visible near a skull) and receives the vision of St. John the Baptist, identified by the long cross and the baptismal washbasin which is tied at his belt; St. John indicates the Child, represented in the upper sector between the legs of the Madonna, with a shining background behind them.Parmigianino's attention to detail is shown by the Baptist's reed cross, the speckled skin which covers him, the undergrowth near the sleeping Jerome, and the sheen on Mary's dress, the last perhaps inspired by classical sculptures seen by Parmigianino during his trips.St. John's raised right arm and upwards-pointing finger are reminiscent of Leonardo's painting St. John the Baptist.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: Explain the Description of this artwork, Vision of Saint Jerome.

The painting is divided into two narrative sectors: a lower one, with Saint Jerome is sleeping near the crucifix (with his traditional symbol, the cardinal hat visible near a skull) and receives the vision of St. John the Baptist, identified by the long cross and the baptismal washbasin which is tied at his belt; St. John indicates the Child, represented in the upper sector between the legs of the Madonna, with a shining background behind them.Parmigianino's attention to detail is shown by the Baptist's reed cross, the speckled skin which covers him, the undergrowth near the sleeping Jerome, and the sheen on Mary's dress, the last perhaps inspired by classical sculptures seen by Parmigianino during his trips.St. John's raised right arm and upwards-pointing finger are reminiscent of Leonardo's painting St. John the Baptist.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: How does Vision of Saint Jerome explain its Description?

The painting is divided into two narrative sectors: a lower one, with Saint Jerome is sleeping near the crucifix (with his traditional symbol, the cardinal hat visible near a skull) and receives the vision of St. John the Baptist, identified by the long cross and the baptismal washbasin which is tied at his belt; St. John indicates the Child, represented in the upper sector between the legs of the Madonna, with a shining background behind them.Parmigianino's attention to detail is shown by the Baptist's reed cross, the speckled skin which covers him, the undergrowth near the sleeping Jerome, and the sheen on Mary's dress, the last perhaps inspired by classical sculptures seen by Parmigianino during his trips.St. John's raised right arm and upwards-pointing finger are reminiscent of Leonardo's painting St. John the Baptist.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Vision of Saint Jerome

Prompt: In Vision of Saint Jerome, how is the Description discussed?

The painting is divided into two narrative sectors: a lower one, with Saint Jerome is sleeping near the crucifix (with his traditional symbol, the cardinal hat visible near a skull) and receives the vision of St. John the Baptist, identified by the long cross and the baptismal washbasin which is tied at his belt; St. John indicates the Child, represented in the upper sector between the legs of the Madonna, with a shining background behind them.Parmigianino's attention to detail is shown by the Baptist's reed cross, the speckled skin which covers him, the undergrowth near the sleeping Jerome, and the sheen on Mary's dress, the last perhaps inspired by classical sculptures seen by Parmigianino during his trips.St. John's raised right arm and upwards-pointing finger are reminiscent of Leonardo's painting St. John the Baptist.

File:Parmigianino, visione di san girolamo 04.jpg

Category:Paintings of the Madonna and Child by Parmigianino

Category:Paintings in the National Gallery, London


Prompt: Focus on Self-Portrait with Death Playing the Fiddle and explain the abstract.

Self-Portrait with Death Playing the Fiddle is a painted self-portrait executed in 1872 by the Swiss symbolist artist Arnold Böcklin. He first exhibited at the Kunstverein München in the same year, establishing his reputation in Munich's artistic community. It is now in the Alte Nationalgalerie, in Berlin. Painted in Munich, the painting depicts a bearded Böcklin stalked by a personification of death playing a single-stringed violin in an intimation of his mortality. It is an echo of an earlier painting of Sir Brian Tuke by an anonymous painter c.1540, part of the collection of the Alte Pinakothek in Munich, in which the shadowing figure of Death is pointing at an hourglass.Death and mortality is a repeating theme in several of Böcklin's works, including Plague, two versions of War, and five versions of Isle of the Dead.According to Alma Mahler, the wife of the composer Gustav Mahler, her husband was "under the spell" of Böcklin's self-portrait when writing the scherzo movement of his Fourth Symphony.

Sir Brian Tuke, c.1540, anonymous after Hans Holbein the Younger

Category:Paintings in the Alte Nationalgalerie

File:After Holbein II, Sir Brian Tuke.jpg


Prompt: Explain the abstract of this artwork, Self-Portrait with Death Playing the Fiddle.

Self-Portrait with Death Playing the Fiddle is a painted self-portrait executed in 1872 by the Swiss symbolist artist Arnold Böcklin. He first exhibited at the Kunstverein München in the same year, establishing his reputation in Munich's artistic community. It is now in the Alte Nationalgalerie, in Berlin. Painted in Munich, the painting depicts a bearded Böcklin stalked by a personification of death playing a single-stringed violin in an intimation of his mortality. It is an echo of an earlier painting of Sir Brian Tuke by an anonymous painter c.1540, part of the collection of the Alte Pinakothek in Munich, in which the shadowing figure of Death is pointing at an hourglass.Death and mortality is a repeating theme in several of Böcklin's works, including Plague, two versions of War, and five versions of Isle of the Dead.According to Alma Mahler, the wife of the composer Gustav Mahler, her husband was "under the spell" of Böcklin's self-portrait when writing the scherzo movement of his Fourth Symphony.

Sir Brian Tuke, c.1540, anonymous after Hans Holbein the Younger

Category:Paintings in the Alte Nationalgalerie

File:After Holbein II, Sir Brian Tuke.jpg


Prompt: How does Self-Portrait with Death Playing the Fiddle explain its abstract?

Self-Portrait with Death Playing the Fiddle is a painted self-portrait executed in 1872 by the Swiss symbolist artist Arnold Böcklin. He first exhibited at the Kunstverein München in the same year, establishing his reputation in Munich's artistic community. It is now in the Alte Nationalgalerie, in Berlin. Painted in Munich, the painting depicts a bearded Böcklin stalked by a personification of death playing a single-stringed violin in an intimation of his mortality. It is an echo of an earlier painting of Sir Brian Tuke by an anonymous painter c.1540, part of the collection of the Alte Pinakothek in Munich, in which the shadowing figure of Death is pointing at an hourglass.Death and mortality is a repeating theme in several of Böcklin's works, including Plague, two versions of War, and five versions of Isle of the Dead.According to Alma Mahler, the wife of the composer Gustav Mahler, her husband was "under the spell" of Böcklin's self-portrait when writing the scherzo movement of his Fourth Symphony.

Sir Brian Tuke, c.1540, anonymous after Hans Holbein the Younger

Category:Paintings in the Alte Nationalgalerie

File:After Holbein II, Sir Brian Tuke.jpg


Prompt: In Self-Portrait with Death Playing the Fiddle, how is the abstract discussed?

Self-Portrait with Death Playing the Fiddle is a painted self-portrait executed in 1872 by the Swiss symbolist artist Arnold Böcklin. He first exhibited at the Kunstverein München in the same year, establishing his reputation in Munich's artistic community. It is now in the Alte Nationalgalerie, in Berlin. Painted in Munich, the painting depicts a bearded Böcklin stalked by a personification of death playing a single-stringed violin in an intimation of his mortality. It is an echo of an earlier painting of Sir Brian Tuke by an anonymous painter c.1540, part of the collection of the Alte Pinakothek in Munich, in which the shadowing figure of Death is pointing at an hourglass.Death and mortality is a repeating theme in several of Böcklin's works, including Plague, two versions of War, and five versions of Isle of the Dead.According to Alma Mahler, the wife of the composer Gustav Mahler, her husband was "under the spell" of Böcklin's self-portrait when writing the scherzo movement of his Fourth Symphony.

Sir Brian Tuke, c.1540, anonymous after Hans Holbein the Younger

Category:Paintings in the Alte Nationalgalerie

File:After Holbein II, Sir Brian Tuke.jpg


Stockton Flyer

Prompt: Focus on Stockton Flyer and explain the abstract.

The Stockton Flyer is a kinetic sculpture in Stockton-on-Tees, County Durham.  It is a stylised depiction of the Locomotion No. 1, which first arrived in Stockton in 1825, and, as part of the Stockton and Darlington Railway had a large impact on the town.  The sculpture rises from within a stone plinth at 1 p.m. every day and moves, emits smokes, and sounds a whistle.  It was designed and built by Rob Higgs and was unveiled on 12 June 2016.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: Explain the abstract of this artwork, Stockton Flyer.

The Stockton Flyer is a kinetic sculpture in Stockton-on-Tees, County Durham.  It is a stylised depiction of the Locomotion No. 1, which first arrived in Stockton in 1825, and, as part of the Stockton and Darlington Railway had a large impact on the town.  The sculpture rises from within a stone plinth at 1 p.m. every day and moves, emits smokes, and sounds a whistle.  It was designed and built by Rob Higgs and was unveiled on 12 June 2016.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: How does Stockton Flyer explain its abstract?

The Stockton Flyer is a kinetic sculpture in Stockton-on-Tees, County Durham.  It is a stylised depiction of the Locomotion No. 1, which first arrived in Stockton in 1825, and, as part of the Stockton and Darlington Railway had a large impact on the town.  The sculpture rises from within a stone plinth at 1 p.m. every day and moves, emits smokes, and sounds a whistle.  It was designed and built by Rob Higgs and was unveiled on 12 June 2016.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: In Stockton Flyer, how is the abstract discussed?

The Stockton Flyer is a kinetic sculpture in Stockton-on-Tees, County Durham.  It is a stylised depiction of the Locomotion No. 1, which first arrived in Stockton in 1825, and, as part of the Stockton and Darlington Railway had a large impact on the town.  The sculpture rises from within a stone plinth at 1 p.m. every day and moves, emits smokes, and sounds a whistle.  It was designed and built by Rob Higgs and was unveiled on 12 June 2016.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: Focus on Stockton Flyer and explain the Description.

The sculpture is normally hidden within a stone plinth near Stockton-on-Tees Town Hall.  The sculpture is a stylised steam locomotive, inspired by George and Robert Stephenson's Locomotion No. 1.  At 1:06 p.m. each day, (the delayed arrival time of the Locomotive), the sculpture emerges from the plinth, moves, blows its whistle and emits smoke.  When fully emerged, the sculpture measures 7 metres (23 ft) in height, including the plinth.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: Explain the Description of this artwork, Stockton Flyer.

The sculpture is normally hidden within a stone plinth near Stockton-on-Tees Town Hall.  The sculpture is a stylised steam locomotive, inspired by George and Robert Stephenson's Locomotion No. 1.  At 1:06 p.m. each day, (the delayed arrival time of the Locomotive), the sculpture emerges from the plinth, moves, blows its whistle and emits smoke.  When fully emerged, the sculpture measures 7 metres (23 ft) in height, including the plinth.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: How does Stockton Flyer explain its Description?

The sculpture is normally hidden within a stone plinth near Stockton-on-Tees Town Hall.  The sculpture is a stylised steam locomotive, inspired by George and Robert Stephenson's Locomotion No. 1.  At 1:06 p.m. each day, (the delayed arrival time of the Locomotive), the sculpture emerges from the plinth, moves, blows its whistle and emits smoke.  When fully emerged, the sculpture measures 7 metres (23 ft) in height, including the plinth.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: In Stockton Flyer, how is the Description discussed?

The sculpture is normally hidden within a stone plinth near Stockton-on-Tees Town Hall.  The sculpture is a stylised steam locomotive, inspired by George and Robert Stephenson's Locomotion No. 1.  At 1:06 p.m. each day, (the delayed arrival time of the Locomotive), the sculpture emerges from the plinth, moves, blows its whistle and emits smoke.  When fully emerged, the sculpture measures 7 metres (23 ft) in height, including the plinth.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway


Stockton Flyer

Prompt: Focus on Stockton Flyer and explain the History.

The railway was significant to the history of the Stockton; the first modern passenger railway line the Stockton and Darlington Railway was completed in 1825.  Locomotion No. 1 first arrived at Stockton station on 27 September 1825.  The railway was highly beneficial to the town's coal trade.  In 1827 the railway was extended to the south bank of the River Tees where new staithes were built, this later grew into the city of Middlesbrough.  In 2013 Stockton-on-Tees Borough Council decided to commission the Stockton Flyer to commemorate the towns's railway and industrial past.  It followed the construction of a static sculpture of the  Locomotion No. 1, a 27 metres (89 ft) steel model at St John’s Crossing at the southern end of the town unveiled in September 2013.  The council justified the second sculpture, stating, "... whilst the St John's Crossing artwork is a literal representation of Locomotion No. 1 and its 1825 inaugural journey, The Stockton Flyer automata, intended for the High Street, represents our wider engineering achievements".  Planning permission was granted in early September 2013.The Stockton Flyer was designed and built by Cornwall-based sculptor Rob Higgs.  The initial design for the sculpture was criticised by some who considered it more closely resembled Stephenson's Rocket, which had no connection to the town and ran instead on the Liverpool and Manchester Railway.  The Rocket had different propulsion and wheel arrangements to the Locomotion No. 1.  A revised design more closely based on Locomotion No. 1 was revealed later in September 2013.  By 2015 the stone plinth of the sculpture was already in place and was engraved with the poem The Infinite Town by Mark Robinson.The Stockton Flyer was unveiled on 12 June 2016 as part of commemorations of Elizabeth II's 90th birthday (the Queen's Official Birthday).  The council did not announce the cost of the sculpture, but it was part of the £38M regeneration of the High Street.  The sculpture was turned off during the first COVID-19 national lockdown, but was reinstated on 4 July 2020.

Category:Kinetic sculptures
Stockton-on-Tees Borough Council
first COVID-19 national lockdown
Stephenson's Rocket
wikt:staithe
Category:2016 sculptures
kinetic sculpture
thumb
Pedestal
Kinetic art
Stephenson's ''Rocket''
Stockton and Darlington Railway
COVID-19 pandemic in the United Kingdom
Rob Higgs
George
Middlesbrough
County Durham
Category:Outdoor sculptures in England
River Tees
File:Stephenson's Rocket drawing.jpg
King's Official Birthday
Category:Stockton-on-Tees
Locomotion No. 1
Stockton-on-Tees
Queen's Official Birthday
The ''Rocket''
plinth
Elizabeth II
Stockton-on-Tees Town Hall
File:Locomotion, 1825.jpg
Robert Stephenson
staithes
George Stephenson
Liverpool and Manchester Railway