The Third-Class Carriage

Prompt: Explain the Ottawa version about the Description of this artwork, The Third-Class Carriage.

The version in Ottawa is completed, signed on the baggage to the lower right, and dated to c. 1863–1865.  It was owned by the art dealer Hector Brame when it was shown at the Durand-Ruel exhibition in 1878.It was acquired by the National Gallery of Canada in 1946 from Gordon Cameron Edwards.  There are some small differences: the position of the man with the top hat against the window to the left, and the sleeping boy in the centre-right; the central woman with headscarf appears older in the version in Ottawa, whereas the man with blue headcovering to the far right appears younger in the Ottawa version.  The details of the people in the background also differ.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: In The Third-Class Carriage, how is the Ottawa version of the Description explained?

The version in Ottawa is completed, signed on the baggage to the lower right, and dated to c. 1863–1865.  It was owned by the art dealer Hector Brame when it was shown at the Durand-Ruel exhibition in 1878.It was acquired by the National Gallery of Canada in 1946 from Gordon Cameron Edwards.  There are some small differences: the position of the man with the top hat against the window to the left, and the sleeping boy in the centre-right; the central woman with headscarf appears older in the version in Ottawa, whereas the man with blue headcovering to the far right appears younger in the Ottawa version.  The details of the people in the background also differ.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: Describe the characteristics of the Ottawa version in The Third-Class Carriage's Description.

The version in Ottawa is completed, signed on the baggage to the lower right, and dated to c. 1863–1865.  It was owned by the art dealer Hector Brame when it was shown at the Durand-Ruel exhibition in 1878.It was acquired by the National Gallery of Canada in 1946 from Gordon Cameron Edwards.  There are some small differences: the position of the man with the top hat against the window to the left, and the sleeping boy in the centre-right; the central woman with headscarf appears older in the version in Ottawa, whereas the man with blue headcovering to the far right appears younger in the Ottawa version.  The details of the people in the background also differ.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: In the context of The Third-Class Carriage, explain the San Francisco  version and the Description.

The third version was acquired by the Fine Arts Museums of San Francisco in 1996, using funds from several bequests.  Unlike the versions in New York and Ottawa, the version in San Francisco is oil on panel, and somewhat smaller, measuring 26 cm × 33.9 cm (10.2 in × 13.3 in).  It was thought to have a later date, but the Fine Arts Museums of San Francisco dates it c. 1856–1858.  The three principal characters are different from those in the other versions:  an elderly woman whose eyes are closed and hands clasped in her lap; a bearded man in a suit holding his hat in his lap; and a young woman looking at the young child standing in front of her.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: Explain the San Francisco  version about the Description of this artwork, The Third-Class Carriage.

The third version was acquired by the Fine Arts Museums of San Francisco in 1996, using funds from several bequests.  Unlike the versions in New York and Ottawa, the version in San Francisco is oil on panel, and somewhat smaller, measuring 26 cm × 33.9 cm (10.2 in × 13.3 in).  It was thought to have a later date, but the Fine Arts Museums of San Francisco dates it c. 1856–1858.  The three principal characters are different from those in the other versions:  an elderly woman whose eyes are closed and hands clasped in her lap; a bearded man in a suit holding his hat in his lap; and a young woman looking at the young child standing in front of her.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: In The Third-Class Carriage, how is the San Francisco  version of the Description explained?

The third version was acquired by the Fine Arts Museums of San Francisco in 1996, using funds from several bequests.  Unlike the versions in New York and Ottawa, the version in San Francisco is oil on panel, and somewhat smaller, measuring 26 cm × 33.9 cm (10.2 in × 13.3 in).  It was thought to have a later date, but the Fine Arts Museums of San Francisco dates it c. 1856–1858.  The three principal characters are different from those in the other versions:  an elderly woman whose eyes are closed and hands clasped in her lap; a bearded man in a suit holding his hat in his lap; and a young woman looking at the young child standing in front of her.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: Describe the characteristics of the San Francisco  version in The Third-Class Carriage's Description.

The third version was acquired by the Fine Arts Museums of San Francisco in 1996, using funds from several bequests.  Unlike the versions in New York and Ottawa, the version in San Francisco is oil on panel, and somewhat smaller, measuring 26 cm × 33.9 cm (10.2 in × 13.3 in).  It was thought to have a later date, but the Fine Arts Museums of San Francisco dates it c. 1856–1858.  The three principal characters are different from those in the other versions:  an elderly woman whose eyes are closed and hands clasped in her lap; a bearded man in a suit holding his hat in his lap; and a young woman looking at the young child standing in front of her.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


Prompt: Focus on Portrait of Madame Cézanne (Lichtenstein) and explain the abstract.

Portrait of Madame Cézanne (sometimes Portrait of Mrs. Cézanne) is a 1962 pop art painting by Roy Lichtenstein. It is a quotation of Erle Loran's diagram of one of Paul Cézanne's 27 portraits of his wife Marie-Hortense Fiquet, now in the Barnes Foundation, Philadelphia. It was one of the works exhibited at Lichtenstein's first solo exhibition in Los Angeles. The work became controversial in that it led to a reconsideration of what constitutes art.Lichtenstein and Loran sparred in the press, and art critics were intrigued by the viewpoints of the two. Loran's view was that Lichtenstein had plagiarized his work, and at one point filed suit. Lichtenstein felt that he was making a statement with his painting on the ridiculous attempt by Loran to explain Cézanne by diagram. The press frequently used the word transformation when crediting Lichtenstein's work, but Lichtenstein attempted not to accept the association of his work with that word.

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: Explain the abstract of this artwork, Portrait of Madame Cézanne (Lichtenstein).

Portrait of Madame Cézanne (sometimes Portrait of Mrs. Cézanne) is a 1962 pop art painting by Roy Lichtenstein. It is a quotation of Erle Loran's diagram of one of Paul Cézanne's 27 portraits of his wife Marie-Hortense Fiquet, now in the Barnes Foundation, Philadelphia. It was one of the works exhibited at Lichtenstein's first solo exhibition in Los Angeles. The work became controversial in that it led to a reconsideration of what constitutes art.Lichtenstein and Loran sparred in the press, and art critics were intrigued by the viewpoints of the two. Loran's view was that Lichtenstein had plagiarized his work, and at one point filed suit. Lichtenstein felt that he was making a statement with his painting on the ridiculous attempt by Loran to explain Cézanne by diagram. The press frequently used the word transformation when crediting Lichtenstein's work, but Lichtenstein attempted not to accept the association of his work with that word.

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: How does Portrait of Madame Cézanne (Lichtenstein) explain its abstract?

Portrait of Madame Cézanne (sometimes Portrait of Mrs. Cézanne) is a 1962 pop art painting by Roy Lichtenstein. It is a quotation of Erle Loran's diagram of one of Paul Cézanne's 27 portraits of his wife Marie-Hortense Fiquet, now in the Barnes Foundation, Philadelphia. It was one of the works exhibited at Lichtenstein's first solo exhibition in Los Angeles. The work became controversial in that it led to a reconsideration of what constitutes art.Lichtenstein and Loran sparred in the press, and art critics were intrigued by the viewpoints of the two. Loran's view was that Lichtenstein had plagiarized his work, and at one point filed suit. Lichtenstein felt that he was making a statement with his painting on the ridiculous attempt by Loran to explain Cézanne by diagram. The press frequently used the word transformation when crediting Lichtenstein's work, but Lichtenstein attempted not to accept the association of his work with that word.

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: In Portrait of Madame Cézanne (Lichtenstein), how is the abstract discussed?

Portrait of Madame Cézanne (sometimes Portrait of Mrs. Cézanne) is a 1962 pop art painting by Roy Lichtenstein. It is a quotation of Erle Loran's diagram of one of Paul Cézanne's 27 portraits of his wife Marie-Hortense Fiquet, now in the Barnes Foundation, Philadelphia. It was one of the works exhibited at Lichtenstein's first solo exhibition in Los Angeles. The work became controversial in that it led to a reconsideration of what constitutes art.Lichtenstein and Loran sparred in the press, and art critics were intrigued by the viewpoints of the two. Loran's view was that Lichtenstein had plagiarized his work, and at one point filed suit. Lichtenstein felt that he was making a statement with his painting on the ridiculous attempt by Loran to explain Cézanne by diagram. The press frequently used the word transformation when crediting Lichtenstein's work, but Lichtenstein attempted not to accept the association of his work with that word.

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: Focus on Portrait of Madame Cézanne (Lichtenstein) and explain the Background.

Portrait of Madame Cézanne was exhibited along with works such as Man with Folded Arms at Lichtentein's first Pop exhibition in Los Angeles. The linear twice-removed black-and-white (along with Man with Folded Arms) is regarded as a quotation of Erle Loran's outline diagram of Cézanne's compositional methods published in a diagram book called Cézanne's Composition. The book was popular in the academic community. Loran's representation in a "harsh black outline" depicted the axes of the composition without representing the "texture and expressiveness of Cézanne's original." In fact, Loran stated that "this diagrammatic approach may seem coldly analytical to those who like vagueness and poetry in art criticism." Loran's diagrammatic techniques were standard at the time; redrawn outlines of the figure were illustrated with alphabetized arrows to identify areas and directions. The diagram highlighted body part positioning without studying the painted surface.According to John Coplans's Roy Lichtenstein, the artist was fascinated by the drawings: "isolating the woman out of the context of the painting seemed to Lichtenstein to be such an oversimplification of a complex issue as to be ironical in itself"; the oversimplification referred to was Loran's representing Cézanne's work with nothing more than black lines. The work marked the first of Lichtenstein's "artistic appropriations of the canonical works of Modernism" that resulted from his realization of the interrelation "between avant-garde and kitsch".

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: Explain the Background of this artwork, Portrait of Madame Cézanne (Lichtenstein).

Portrait of Madame Cézanne was exhibited along with works such as Man with Folded Arms at Lichtentein's first Pop exhibition in Los Angeles. The linear twice-removed black-and-white (along with Man with Folded Arms) is regarded as a quotation of Erle Loran's outline diagram of Cézanne's compositional methods published in a diagram book called Cézanne's Composition. The book was popular in the academic community. Loran's representation in a "harsh black outline" depicted the axes of the composition without representing the "texture and expressiveness of Cézanne's original." In fact, Loran stated that "this diagrammatic approach may seem coldly analytical to those who like vagueness and poetry in art criticism." Loran's diagrammatic techniques were standard at the time; redrawn outlines of the figure were illustrated with alphabetized arrows to identify areas and directions. The diagram highlighted body part positioning without studying the painted surface.According to John Coplans's Roy Lichtenstein, the artist was fascinated by the drawings: "isolating the woman out of the context of the painting seemed to Lichtenstein to be such an oversimplification of a complex issue as to be ironical in itself"; the oversimplification referred to was Loran's representing Cézanne's work with nothing more than black lines. The work marked the first of Lichtenstein's "artistic appropriations of the canonical works of Modernism" that resulted from his realization of the interrelation "between avant-garde and kitsch".

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: How does Portrait of Madame Cézanne (Lichtenstein) explain its Background?

Portrait of Madame Cézanne was exhibited along with works such as Man with Folded Arms at Lichtentein's first Pop exhibition in Los Angeles. The linear twice-removed black-and-white (along with Man with Folded Arms) is regarded as a quotation of Erle Loran's outline diagram of Cézanne's compositional methods published in a diagram book called Cézanne's Composition. The book was popular in the academic community. Loran's representation in a "harsh black outline" depicted the axes of the composition without representing the "texture and expressiveness of Cézanne's original." In fact, Loran stated that "this diagrammatic approach may seem coldly analytical to those who like vagueness and poetry in art criticism." Loran's diagrammatic techniques were standard at the time; redrawn outlines of the figure were illustrated with alphabetized arrows to identify areas and directions. The diagram highlighted body part positioning without studying the painted surface.According to John Coplans's Roy Lichtenstein, the artist was fascinated by the drawings: "isolating the woman out of the context of the painting seemed to Lichtenstein to be such an oversimplification of a complex issue as to be ironical in itself"; the oversimplification referred to was Loran's representing Cézanne's work with nothing more than black lines. The work marked the first of Lichtenstein's "artistic appropriations of the canonical works of Modernism" that resulted from his realization of the interrelation "between avant-garde and kitsch".

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: In Portrait of Madame Cézanne (Lichtenstein), how is the Background discussed?

Portrait of Madame Cézanne was exhibited along with works such as Man with Folded Arms at Lichtentein's first Pop exhibition in Los Angeles. The linear twice-removed black-and-white (along with Man with Folded Arms) is regarded as a quotation of Erle Loran's outline diagram of Cézanne's compositional methods published in a diagram book called Cézanne's Composition. The book was popular in the academic community. Loran's representation in a "harsh black outline" depicted the axes of the composition without representing the "texture and expressiveness of Cézanne's original." In fact, Loran stated that "this diagrammatic approach may seem coldly analytical to those who like vagueness and poetry in art criticism." Loran's diagrammatic techniques were standard at the time; redrawn outlines of the figure were illustrated with alphabetized arrows to identify areas and directions. The diagram highlighted body part positioning without studying the painted surface.According to John Coplans's Roy Lichtenstein, the artist was fascinated by the drawings: "isolating the woman out of the context of the painting seemed to Lichtenstein to be such an oversimplification of a complex issue as to be ironical in itself"; the oversimplification referred to was Loran's representing Cézanne's work with nothing more than black lines. The work marked the first of Lichtenstein's "artistic appropriations of the canonical works of Modernism" that resulted from his realization of the interrelation "between avant-garde and kitsch".

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: Focus on Portrait of Madame Cézanne (Lichtenstein) and explain the Description.

The two images garnered attention among critics by highlighting the nuances between copying and creating art, between real and fake art. As Andy Warhol challenged the status quo by "humanizing mass-produced product", Lichtenstein dehumanized masterpieces. Portrait of Madame Cézanne demonstrates "that the quotation of popular culture was not the sign of intelligence suspended but rather the shape of thought."The publication of this work was considered by some observers as more sacrilegious than Duchamp's revisions to the Mona Lisa. Loran wrote two hot-tempered letters in response, which were published in September 1963 issues of ARTnews and Artforum. His articles were written after Lichtenstein's first Pop exhibition in Los Angeles, which featured the two life-sized works depicting Loran's images. Loran, whose text was by this time over twenty years old, even attempted to sue Lichtenstein. According to David Deitcher, "The angrier of the two tracts appeared in Art News, where Loran openly expressed his contempt for Lichtenstein's work and hinted at his desire to sue.":In a recent sell-out exhibition at the Ferus Gallery, Los Angeles, he [Lichtenstein] gave the title of Portrait of Mme. Cézanne to the black and white line drawing on bare canvas reproduced here. Sale price: $2000, or more. I suppose I should be flattered that a diagrammatic sketch of mine should be worth so much. But then, no one has paid me anything—so far.One critic noted that although Loran was making instructive points with his diagram, Lichtenstein's was an artistic statement. However, Loran was joined by Brian O'Doherty, a critic with The New York Times, in ridiculing the defense of Pop art as transformative rather than appropriationist art. In 1963, O'Doherty wrote his belief that Lichtenstein's work was not art in The New York Times saying, he was "one of the worst artists in America" who "briskly went about making a sow's ear out of a sow's ear." Loran felt Pop art paled in comparison to the aesthetics of Abstract Expressionism. Lichtenstein did not accept the transformation defense. Other critics got involved in the matter, with Gene Swenson querying Lichtenstein "about the charges of antagonistic critics 'that Pop Art does not transform its models." Lichtenstein responded that art forms but does not transform. Max Kozloff opined that Loran was being mocked and that while Lichtenstein's product had didactic content, its purpose and need was questionable. Kozloff worried in The Nation that Lichtenstein's work may lead to the values that modern art held being rejected moving forward.The painting is regarded as "another of his comments on the way in which we view art."  The work, along with his Femme au Chapeau from 1962 mark the beginnings of Lichtenstein's presentations of art about art because it was among his first paintings that drew upon a predecessor artist. Lichtenstein noted his objection to the attempt to reduce art diagrammatically: "I wasn't trying to berate Erle Loran ... but it is such an oversimplification trying to explain a painting by A, B, C." He also noted that "The Cézanne is such a complex painting. Taking an outline and calling it Madame Cézanne is in itself humorous, particularly the idea of diagramming a Cézanne when Cézanne said, '... the outline escaped me.'"Lichtenstein obtained legal validation that his work was original when Loran's lawsuit was dismissed, clearing the way for artists to elaborate on images produced by others.

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: Explain the Description of this artwork, Portrait of Madame Cézanne (Lichtenstein).

The two images garnered attention among critics by highlighting the nuances between copying and creating art, between real and fake art. As Andy Warhol challenged the status quo by "humanizing mass-produced product", Lichtenstein dehumanized masterpieces. Portrait of Madame Cézanne demonstrates "that the quotation of popular culture was not the sign of intelligence suspended but rather the shape of thought."The publication of this work was considered by some observers as more sacrilegious than Duchamp's revisions to the Mona Lisa. Loran wrote two hot-tempered letters in response, which were published in September 1963 issues of ARTnews and Artforum. His articles were written after Lichtenstein's first Pop exhibition in Los Angeles, which featured the two life-sized works depicting Loran's images. Loran, whose text was by this time over twenty years old, even attempted to sue Lichtenstein. According to David Deitcher, "The angrier of the two tracts appeared in Art News, where Loran openly expressed his contempt for Lichtenstein's work and hinted at his desire to sue.":In a recent sell-out exhibition at the Ferus Gallery, Los Angeles, he [Lichtenstein] gave the title of Portrait of Mme. Cézanne to the black and white line drawing on bare canvas reproduced here. Sale price: $2000, or more. I suppose I should be flattered that a diagrammatic sketch of mine should be worth so much. But then, no one has paid me anything—so far.One critic noted that although Loran was making instructive points with his diagram, Lichtenstein's was an artistic statement. However, Loran was joined by Brian O'Doherty, a critic with The New York Times, in ridiculing the defense of Pop art as transformative rather than appropriationist art. In 1963, O'Doherty wrote his belief that Lichtenstein's work was not art in The New York Times saying, he was "one of the worst artists in America" who "briskly went about making a sow's ear out of a sow's ear." Loran felt Pop art paled in comparison to the aesthetics of Abstract Expressionism. Lichtenstein did not accept the transformation defense. Other critics got involved in the matter, with Gene Swenson querying Lichtenstein "about the charges of antagonistic critics 'that Pop Art does not transform its models." Lichtenstein responded that art forms but does not transform. Max Kozloff opined that Loran was being mocked and that while Lichtenstein's product had didactic content, its purpose and need was questionable. Kozloff worried in The Nation that Lichtenstein's work may lead to the values that modern art held being rejected moving forward.The painting is regarded as "another of his comments on the way in which we view art."  The work, along with his Femme au Chapeau from 1962 mark the beginnings of Lichtenstein's presentations of art about art because it was among his first paintings that drew upon a predecessor artist. Lichtenstein noted his objection to the attempt to reduce art diagrammatically: "I wasn't trying to berate Erle Loran ... but it is such an oversimplification trying to explain a painting by A, B, C." He also noted that "The Cézanne is such a complex painting. Taking an outline and calling it Madame Cézanne is in itself humorous, particularly the idea of diagramming a Cézanne when Cézanne said, '... the outline escaped me.'"Lichtenstein obtained legal validation that his work was original when Loran's lawsuit was dismissed, clearing the way for artists to elaborate on images produced by others.

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: How does Portrait of Madame Cézanne (Lichtenstein) explain its Description?

The two images garnered attention among critics by highlighting the nuances between copying and creating art, between real and fake art. As Andy Warhol challenged the status quo by "humanizing mass-produced product", Lichtenstein dehumanized masterpieces. Portrait of Madame Cézanne demonstrates "that the quotation of popular culture was not the sign of intelligence suspended but rather the shape of thought."The publication of this work was considered by some observers as more sacrilegious than Duchamp's revisions to the Mona Lisa. Loran wrote two hot-tempered letters in response, which were published in September 1963 issues of ARTnews and Artforum. His articles were written after Lichtenstein's first Pop exhibition in Los Angeles, which featured the two life-sized works depicting Loran's images. Loran, whose text was by this time over twenty years old, even attempted to sue Lichtenstein. According to David Deitcher, "The angrier of the two tracts appeared in Art News, where Loran openly expressed his contempt for Lichtenstein's work and hinted at his desire to sue.":In a recent sell-out exhibition at the Ferus Gallery, Los Angeles, he [Lichtenstein] gave the title of Portrait of Mme. Cézanne to the black and white line drawing on bare canvas reproduced here. Sale price: $2000, or more. I suppose I should be flattered that a diagrammatic sketch of mine should be worth so much. But then, no one has paid me anything—so far.One critic noted that although Loran was making instructive points with his diagram, Lichtenstein's was an artistic statement. However, Loran was joined by Brian O'Doherty, a critic with The New York Times, in ridiculing the defense of Pop art as transformative rather than appropriationist art. In 1963, O'Doherty wrote his belief that Lichtenstein's work was not art in The New York Times saying, he was "one of the worst artists in America" who "briskly went about making a sow's ear out of a sow's ear." Loran felt Pop art paled in comparison to the aesthetics of Abstract Expressionism. Lichtenstein did not accept the transformation defense. Other critics got involved in the matter, with Gene Swenson querying Lichtenstein "about the charges of antagonistic critics 'that Pop Art does not transform its models." Lichtenstein responded that art forms but does not transform. Max Kozloff opined that Loran was being mocked and that while Lichtenstein's product had didactic content, its purpose and need was questionable. Kozloff worried in The Nation that Lichtenstein's work may lead to the values that modern art held being rejected moving forward.The painting is regarded as "another of his comments on the way in which we view art."  The work, along with his Femme au Chapeau from 1962 mark the beginnings of Lichtenstein's presentations of art about art because it was among his first paintings that drew upon a predecessor artist. Lichtenstein noted his objection to the attempt to reduce art diagrammatically: "I wasn't trying to berate Erle Loran ... but it is such an oversimplification trying to explain a painting by A, B, C." He also noted that "The Cézanne is such a complex painting. Taking an outline and calling it Madame Cézanne is in itself humorous, particularly the idea of diagramming a Cézanne when Cézanne said, '... the outline escaped me.'"Lichtenstein obtained legal validation that his work was original when Loran's lawsuit was dismissed, clearing the way for artists to elaborate on images produced by others.

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Prompt: In Portrait of Madame Cézanne (Lichtenstein), how is the Description discussed?

The two images garnered attention among critics by highlighting the nuances between copying and creating art, between real and fake art. As Andy Warhol challenged the status quo by "humanizing mass-produced product", Lichtenstein dehumanized masterpieces. Portrait of Madame Cézanne demonstrates "that the quotation of popular culture was not the sign of intelligence suspended but rather the shape of thought."The publication of this work was considered by some observers as more sacrilegious than Duchamp's revisions to the Mona Lisa. Loran wrote two hot-tempered letters in response, which were published in September 1963 issues of ARTnews and Artforum. His articles were written after Lichtenstein's first Pop exhibition in Los Angeles, which featured the two life-sized works depicting Loran's images. Loran, whose text was by this time over twenty years old, even attempted to sue Lichtenstein. According to David Deitcher, "The angrier of the two tracts appeared in Art News, where Loran openly expressed his contempt for Lichtenstein's work and hinted at his desire to sue.":In a recent sell-out exhibition at the Ferus Gallery, Los Angeles, he [Lichtenstein] gave the title of Portrait of Mme. Cézanne to the black and white line drawing on bare canvas reproduced here. Sale price: $2000, or more. I suppose I should be flattered that a diagrammatic sketch of mine should be worth so much. But then, no one has paid me anything—so far.One critic noted that although Loran was making instructive points with his diagram, Lichtenstein's was an artistic statement. However, Loran was joined by Brian O'Doherty, a critic with The New York Times, in ridiculing the defense of Pop art as transformative rather than appropriationist art. In 1963, O'Doherty wrote his belief that Lichtenstein's work was not art in The New York Times saying, he was "one of the worst artists in America" who "briskly went about making a sow's ear out of a sow's ear." Loran felt Pop art paled in comparison to the aesthetics of Abstract Expressionism. Lichtenstein did not accept the transformation defense. Other critics got involved in the matter, with Gene Swenson querying Lichtenstein "about the charges of antagonistic critics 'that Pop Art does not transform its models." Lichtenstein responded that art forms but does not transform. Max Kozloff opined that Loran was being mocked and that while Lichtenstein's product had didactic content, its purpose and need was questionable. Kozloff worried in The Nation that Lichtenstein's work may lead to the values that modern art held being rejected moving forward.The painting is regarded as "another of his comments on the way in which we view art."  The work, along with his Femme au Chapeau from 1962 mark the beginnings of Lichtenstein's presentations of art about art because it was among his first paintings that drew upon a predecessor artist. Lichtenstein noted his objection to the attempt to reduce art diagrammatically: "I wasn't trying to berate Erle Loran ... but it is such an oversimplification trying to explain a painting by A, B, C." He also noted that "The Cézanne is such a complex painting. Taking an outline and calling it Madame Cézanne is in itself humorous, particularly the idea of diagramming a Cézanne when Cézanne said, '... the outline escaped me.'"Lichtenstein obtained legal validation that his work was original when Loran's lawsuit was dismissed, clearing the way for artists to elaborate on images produced by others.

The MIT Press
Benedikt Taschen
Art Institute of Chicago
1962 in art
Erle Loran
Paul Cézanne
University of Michigan Press
Magna
Duchamp
ARTnews
Max Kozloff
Pop art
Category:Paintings by Roy Lichtenstein
MIT Press
upright
thumb
Magna (paint)
Marcel Duchamp
Harry N. Abrams
Solomon R. Guggenheim Museum
Mona Lisa
oversimplification
Roy Lichtenstein
The Nation
Associated Press
Artforum
Andy Warhol
Category:1962 paintings
Abbeville Press
Philadelphia
The New York Times
pop art
File:Roy Lichtenstein.jpg
Pennsylvania
Erle Loran's
Praeger Publishers
John Coplans
Greenwood Publishing Group
Cézanne
Barnes Foundation
UMI Research Press
Marie-Hortense Fiquet
Brian O'Doherty
Lichtenstein in 1967


Statue of Egerton Ryerson

Prompt: Focus on Statue of Egerton Ryerson and explain the abstract.

A statue of Egerton Ryerson by Hamilton MacCarthy was installed on the grounds of Ryerson University in Toronto, now known as Toronto Metropolitan University, from 1887 until 2021.

Canadian Indian residential school gravesites

Category:Vandalized works of art in Canada

Canadian Indian residential school system

Category:2021 disestablishments in Ontario

Category:Monuments and memorials in Toronto

The statue in 1890, as photographed by [[Josiah Bruce

Truth and Reconciliation Commission of Canada


Statue of Egerton Ryerson

Prompt: Explain the abstract of this artwork, Statue of Egerton Ryerson.

A statue of Egerton Ryerson by Hamilton MacCarthy was installed on the grounds of Ryerson University in Toronto, now known as Toronto Metropolitan University, from 1887 until 2021.

Canadian Indian residential school gravesites

Category:Vandalized works of art in Canada

Canadian Indian residential school system

Category:2021 disestablishments in Ontario

Category:Monuments and memorials in Toronto

The statue in 1890, as photographed by [[Josiah Bruce

Truth and Reconciliation Commission of Canada


Statue of Egerton Ryerson

Prompt: How does Statue of Egerton Ryerson explain its abstract?

A statue of Egerton Ryerson by Hamilton MacCarthy was installed on the grounds of Ryerson University in Toronto, now known as Toronto Metropolitan University, from 1887 until 2021.

Canadian Indian residential school gravesites

Category:Vandalized works of art in Canada

Canadian Indian residential school system

Category:2021 disestablishments in Ontario

Category:Monuments and memorials in Toronto

The statue in 1890, as photographed by [[Josiah Bruce

Truth and Reconciliation Commission of Canada


Statue of Egerton Ryerson

Prompt: In Statue of Egerton Ryerson, how is the abstract discussed?

A statue of Egerton Ryerson by Hamilton MacCarthy was installed on the grounds of Ryerson University in Toronto, now known as Toronto Metropolitan University, from 1887 until 2021.

Canadian Indian residential school gravesites

Category:Vandalized works of art in Canada

Canadian Indian residential school system

Category:2021 disestablishments in Ontario

Category:Monuments and memorials in Toronto

The statue in 1890, as photographed by [[Josiah Bruce

Truth and Reconciliation Commission of Canada


Statue of Egerton Ryerson

Prompt: Focus on Statue of Egerton Ryerson and explain the History.

The novelist Graeme Gibson draped the flag of the United States around the statue in a 1970 protest against the sale of Ryerson Press to the American publishers McGraw Hill Education for $2 million (equivalent to $15,691,517 in 2023). Gibson led protesters in a rendition of "I'm a Yankee Doodle Dandy" after climbing down from the statue.The statue attracted significant criticism in the 2010s due to Ryerson's role in the creation of the Canadian Indian residential school system. In 2018, a plaque was officially installed on the statue that contextualizes and acknowledged Ryerson's involvement in the history of the Canadian Indian residential school system. The plaque contains the following text: This plaque serves as a reminder of Ryerson University's commitment to moving forward in the spirit of truth and reconciliation. Egerton Ryerson is widely known for his contributions to Ontario's public educational system. As Chief Superintendent of Education, Ryerson's recommendations were instrumental in the design and implementation of the Indian Residential School System. In 2015, the Truth and Reconciliation Commission of Canada concluded that the assimilation amounted to cultural genocide.Beneath this text are the following two quotations:"Let us put our minds together to see what kind of lives we can create for our children" – Chief Sitting Bull"For the child taken, for the parent left behind" – Truth and Reconciliation Commission of CanadaIn July 2020, three people were arrested for splattering pink paint on the statue – in addition to two others of John A. Macdonald and King Edward VII at the Ontario Legislature – as part of a demand to tear down the monuments. Black Lives Matter Toronto claimed responsibility for the actions stating that "The action comes after the City of Toronto and the Province of Ontario have failed to take action against police violence against Black people." Three people were each charged with three counts of mischief under $5,000 and conspiracy to commit a summary offence; the charges were dropped the following year.On June 1, 2021, following the discovery of 215 soil disturbances at the Kamloops Indian Residential School, the statue was vandalized again, this time with red paint. On June 6, the statue was toppled, decapitated and thrown into Toronto Harbour; what was then Ryerson University stated that the statue will not be restored or replaced. The head of the statue was subsequently placed on a pike at the Six Nations of the Grand River near Caledonia, Ontario.

Canadian Indian residential school gravesites

Category:Vandalized works of art in Canada

Category:2021 disestablishments in Ontario

Category:Monuments and memorials in Toronto

The statue in 1890, as photographed by [[Josiah Bruce


Statue of Egerton Ryerson

Prompt: Explain the History of this artwork, Statue of Egerton Ryerson.

The novelist Graeme Gibson draped the flag of the United States around the statue in a 1970 protest against the sale of Ryerson Press to the American publishers McGraw Hill Education for $2 million (equivalent to $15,691,517 in 2023). Gibson led protesters in a rendition of "I'm a Yankee Doodle Dandy" after climbing down from the statue.The statue attracted significant criticism in the 2010s due to Ryerson's role in the creation of the Canadian Indian residential school system. In 2018, a plaque was officially installed on the statue that contextualizes and acknowledged Ryerson's involvement in the history of the Canadian Indian residential school system. The plaque contains the following text: This plaque serves as a reminder of Ryerson University's commitment to moving forward in the spirit of truth and reconciliation. Egerton Ryerson is widely known for his contributions to Ontario's public educational system. As Chief Superintendent of Education, Ryerson's recommendations were instrumental in the design and implementation of the Indian Residential School System. In 2015, the Truth and Reconciliation Commission of Canada concluded that the assimilation amounted to cultural genocide.Beneath this text are the following two quotations:"Let us put our minds together to see what kind of lives we can create for our children" – Chief Sitting Bull"For the child taken, for the parent left behind" – Truth and Reconciliation Commission of CanadaIn July 2020, three people were arrested for splattering pink paint on the statue – in addition to two others of John A. Macdonald and King Edward VII at the Ontario Legislature – as part of a demand to tear down the monuments. Black Lives Matter Toronto claimed responsibility for the actions stating that "The action comes after the City of Toronto and the Province of Ontario have failed to take action against police violence against Black people." Three people were each charged with three counts of mischief under $5,000 and conspiracy to commit a summary offence; the charges were dropped the following year.On June 1, 2021, following the discovery of 215 soil disturbances at the Kamloops Indian Residential School, the statue was vandalized again, this time with red paint. On June 6, the statue was toppled, decapitated and thrown into Toronto Harbour; what was then Ryerson University stated that the statue will not be restored or replaced. The head of the statue was subsequently placed on a pike at the Six Nations of the Grand River near Caledonia, Ontario.

Canadian Indian residential school gravesites

Category:Vandalized works of art in Canada

Category:2021 disestablishments in Ontario

Category:Monuments and memorials in Toronto

The statue in 1890, as photographed by [[Josiah Bruce


Statue of Egerton Ryerson

Prompt: How does Statue of Egerton Ryerson explain its History?

The novelist Graeme Gibson draped the flag of the United States around the statue in a 1970 protest against the sale of Ryerson Press to the American publishers McGraw Hill Education for $2 million (equivalent to $15,691,517 in 2023). Gibson led protesters in a rendition of "I'm a Yankee Doodle Dandy" after climbing down from the statue.The statue attracted significant criticism in the 2010s due to Ryerson's role in the creation of the Canadian Indian residential school system. In 2018, a plaque was officially installed on the statue that contextualizes and acknowledged Ryerson's involvement in the history of the Canadian Indian residential school system. The plaque contains the following text: This plaque serves as a reminder of Ryerson University's commitment to moving forward in the spirit of truth and reconciliation. Egerton Ryerson is widely known for his contributions to Ontario's public educational system. As Chief Superintendent of Education, Ryerson's recommendations were instrumental in the design and implementation of the Indian Residential School System. In 2015, the Truth and Reconciliation Commission of Canada concluded that the assimilation amounted to cultural genocide.Beneath this text are the following two quotations:"Let us put our minds together to see what kind of lives we can create for our children" – Chief Sitting Bull"For the child taken, for the parent left behind" – Truth and Reconciliation Commission of CanadaIn July 2020, three people were arrested for splattering pink paint on the statue – in addition to two others of John A. Macdonald and King Edward VII at the Ontario Legislature – as part of a demand to tear down the monuments. Black Lives Matter Toronto claimed responsibility for the actions stating that "The action comes after the City of Toronto and the Province of Ontario have failed to take action against police violence against Black people." Three people were each charged with three counts of mischief under $5,000 and conspiracy to commit a summary offence; the charges were dropped the following year.On June 1, 2021, following the discovery of 215 soil disturbances at the Kamloops Indian Residential School, the statue was vandalized again, this time with red paint. On June 6, the statue was toppled, decapitated and thrown into Toronto Harbour; what was then Ryerson University stated that the statue will not be restored or replaced. The head of the statue was subsequently placed on a pike at the Six Nations of the Grand River near Caledonia, Ontario.

Canadian Indian residential school gravesites

Category:Vandalized works of art in Canada

Category:2021 disestablishments in Ontario

Category:Monuments and memorials in Toronto

The statue in 1890, as photographed by [[Josiah Bruce


Statue of Egerton Ryerson

Prompt: In Statue of Egerton Ryerson, how is the History discussed?

The novelist Graeme Gibson draped the flag of the United States around the statue in a 1970 protest against the sale of Ryerson Press to the American publishers McGraw Hill Education for $2 million (equivalent to $15,691,517 in 2023). Gibson led protesters in a rendition of "I'm a Yankee Doodle Dandy" after climbing down from the statue.The statue attracted significant criticism in the 2010s due to Ryerson's role in the creation of the Canadian Indian residential school system. In 2018, a plaque was officially installed on the statue that contextualizes and acknowledged Ryerson's involvement in the history of the Canadian Indian residential school system. The plaque contains the following text: This plaque serves as a reminder of Ryerson University's commitment to moving forward in the spirit of truth and reconciliation. Egerton Ryerson is widely known for his contributions to Ontario's public educational system. As Chief Superintendent of Education, Ryerson's recommendations were instrumental in the design and implementation of the Indian Residential School System. In 2015, the Truth and Reconciliation Commission of Canada concluded that the assimilation amounted to cultural genocide.Beneath this text are the following two quotations:"Let us put our minds together to see what kind of lives we can create for our children" – Chief Sitting Bull"For the child taken, for the parent left behind" – Truth and Reconciliation Commission of CanadaIn July 2020, three people were arrested for splattering pink paint on the statue – in addition to two others of John A. Macdonald and King Edward VII at the Ontario Legislature – as part of a demand to tear down the monuments. Black Lives Matter Toronto claimed responsibility for the actions stating that "The action comes after the City of Toronto and the Province of Ontario have failed to take action against police violence against Black people." Three people were each charged with three counts of mischief under $5,000 and conspiracy to commit a summary offence; the charges were dropped the following year.On June 1, 2021, following the discovery of 215 soil disturbances at the Kamloops Indian Residential School, the statue was vandalized again, this time with red paint. On June 6, the statue was toppled, decapitated and thrown into Toronto Harbour; what was then Ryerson University stated that the statue will not be restored or replaced. The head of the statue was subsequently placed on a pike at the Six Nations of the Grand River near Caledonia, Ontario.

Canadian Indian residential school gravesites

Category:Vandalized works of art in Canada

Category:2021 disestablishments in Ontario

Category:Monuments and memorials in Toronto

The statue in 1890, as photographed by [[Josiah Bruce


White House at Night

Prompt: Focus on White House at Night and explain the abstract.

White House at Night is an oil-on-canvas painting created on 16 June 1890 in the small town of Auvers-sur-Oise by Vincent van Gogh, six weeks before his death. It is displayed at the Hermitage Museum, St. Petersburg.According to the Hermitage Museum, the painting "expresses the great psychological tension under which Van Gogh found himself"; two of the windows, considered the "eyes" of a home, are rendered with "alarming" red splashes, while the star, a sign of fate, is seen as symbolic of van Gogh's anguish.It is thought that van Gogh painted White House at Night around 8:00 PM due to the position of the "star" in the painting. Astronomers Donald Olson and Russell Doescher from the Texas State University-San Marcos calculated that the star in the painting must be Venus which was bright in the evening sky in June 1890. The house is the same one depicted in Blossoming Chestnut Tree.The painting has a turbulent history. It was exhibited in Switzerland several times during the 1920s, but in the late 1920s disappeared into the private collection of German industrialist Otto Krebs. Many of his acquisitions were of a style which was soon to be labelled "degenerate art" by the Nazis, which contributed towards the already publicity-shy Krebs keeping his collection secret.Thought to have been lost after World War II, the painting languished in the Hermitage archives for fifty years before resurfacing in 1995 as part of an exhibition displaying artworks looted by the Soviets at the end of the war. Three other van Goghs from Krebs's collection were also shown: Landscape with House and Ploughman, Morning: Going out to Work (After Millet), and the Portrait of Madame Trabuc.

Category:Paintings in the Hermitage Museum

:File:Vincent van Gogh - Portrait de Madame Trabuc.jpg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

:File:Van Gogh - Blühende Kastanienbäume1.jpeg

Art theft and looting during World War II

:File:Vincent van Gogh - Morning, going out to Work.jpg


White House at Night

Prompt: Explain the abstract of this artwork, White House at Night.

White House at Night is an oil-on-canvas painting created on 16 June 1890 in the small town of Auvers-sur-Oise by Vincent van Gogh, six weeks before his death. It is displayed at the Hermitage Museum, St. Petersburg.According to the Hermitage Museum, the painting "expresses the great psychological tension under which Van Gogh found himself"; two of the windows, considered the "eyes" of a home, are rendered with "alarming" red splashes, while the star, a sign of fate, is seen as symbolic of van Gogh's anguish.It is thought that van Gogh painted White House at Night around 8:00 PM due to the position of the "star" in the painting. Astronomers Donald Olson and Russell Doescher from the Texas State University-San Marcos calculated that the star in the painting must be Venus which was bright in the evening sky in June 1890. The house is the same one depicted in Blossoming Chestnut Tree.The painting has a turbulent history. It was exhibited in Switzerland several times during the 1920s, but in the late 1920s disappeared into the private collection of German industrialist Otto Krebs. Many of his acquisitions were of a style which was soon to be labelled "degenerate art" by the Nazis, which contributed towards the already publicity-shy Krebs keeping his collection secret.Thought to have been lost after World War II, the painting languished in the Hermitage archives for fifty years before resurfacing in 1995 as part of an exhibition displaying artworks looted by the Soviets at the end of the war. Three other van Goghs from Krebs's collection were also shown: Landscape with House and Ploughman, Morning: Going out to Work (After Millet), and the Portrait of Madame Trabuc.

Category:Paintings in the Hermitage Museum

:File:Vincent van Gogh - Portrait de Madame Trabuc.jpg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

:File:Van Gogh - Blühende Kastanienbäume1.jpeg

Art theft and looting during World War II

:File:Vincent van Gogh - Morning, going out to Work.jpg


White House at Night

Prompt: How does White House at Night explain its abstract?

White House at Night is an oil-on-canvas painting created on 16 June 1890 in the small town of Auvers-sur-Oise by Vincent van Gogh, six weeks before his death. It is displayed at the Hermitage Museum, St. Petersburg.According to the Hermitage Museum, the painting "expresses the great psychological tension under which Van Gogh found himself"; two of the windows, considered the "eyes" of a home, are rendered with "alarming" red splashes, while the star, a sign of fate, is seen as symbolic of van Gogh's anguish.It is thought that van Gogh painted White House at Night around 8:00 PM due to the position of the "star" in the painting. Astronomers Donald Olson and Russell Doescher from the Texas State University-San Marcos calculated that the star in the painting must be Venus which was bright in the evening sky in June 1890. The house is the same one depicted in Blossoming Chestnut Tree.The painting has a turbulent history. It was exhibited in Switzerland several times during the 1920s, but in the late 1920s disappeared into the private collection of German industrialist Otto Krebs. Many of his acquisitions were of a style which was soon to be labelled "degenerate art" by the Nazis, which contributed towards the already publicity-shy Krebs keeping his collection secret.Thought to have been lost after World War II, the painting languished in the Hermitage archives for fifty years before resurfacing in 1995 as part of an exhibition displaying artworks looted by the Soviets at the end of the war. Three other van Goghs from Krebs's collection were also shown: Landscape with House and Ploughman, Morning: Going out to Work (After Millet), and the Portrait of Madame Trabuc.

Category:Paintings in the Hermitage Museum

:File:Vincent van Gogh - Portrait de Madame Trabuc.jpg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

:File:Van Gogh - Blühende Kastanienbäume1.jpeg

Art theft and looting during World War II

:File:Vincent van Gogh - Morning, going out to Work.jpg


White House at Night

Prompt: In White House at Night, how is the abstract discussed?

White House at Night is an oil-on-canvas painting created on 16 June 1890 in the small town of Auvers-sur-Oise by Vincent van Gogh, six weeks before his death. It is displayed at the Hermitage Museum, St. Petersburg.According to the Hermitage Museum, the painting "expresses the great psychological tension under which Van Gogh found himself"; two of the windows, considered the "eyes" of a home, are rendered with "alarming" red splashes, while the star, a sign of fate, is seen as symbolic of van Gogh's anguish.It is thought that van Gogh painted White House at Night around 8:00 PM due to the position of the "star" in the painting. Astronomers Donald Olson and Russell Doescher from the Texas State University-San Marcos calculated that the star in the painting must be Venus which was bright in the evening sky in June 1890. The house is the same one depicted in Blossoming Chestnut Tree.The painting has a turbulent history. It was exhibited in Switzerland several times during the 1920s, but in the late 1920s disappeared into the private collection of German industrialist Otto Krebs. Many of his acquisitions were of a style which was soon to be labelled "degenerate art" by the Nazis, which contributed towards the already publicity-shy Krebs keeping his collection secret.Thought to have been lost after World War II, the painting languished in the Hermitage archives for fifty years before resurfacing in 1995 as part of an exhibition displaying artworks looted by the Soviets at the end of the war. Three other van Goghs from Krebs's collection were also shown: Landscape with House and Ploughman, Morning: Going out to Work (After Millet), and the Portrait of Madame Trabuc.

Category:Paintings in the Hermitage Museum

:File:Vincent van Gogh - Portrait de Madame Trabuc.jpg

Category:Paintings of Auvers-sur-Oise by Vincent van Gogh

:File:Van Gogh - Blühende Kastanienbäume1.jpeg

Art theft and looting during World War II

:File:Vincent van Gogh - Morning, going out to Work.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Focus on The Expedition in Pursuit of Rare Meats and explain the abstract.

The Expedition in Pursuit of Rare Meats is a mural by the English artist Rex Whistler (1905–1944), commissioned in 1926 and completed in 1927 at the Tate Gallery (now Tate Britain) in London. The mural was commissioned by the gallery's inaugural director, Charles Aitken, for the re-opening of its restaurant, where it forms the entire interior surround of what was the eponymously named eatery, "The Rex Whistler Restaurant".Concerns about the racist themes in the mural were first raised with The Tate following the restoration in 2013. In one scene, the artist depicts a black child who is chained to and being dragged behind a horse and cart and, in another scene, the artist's depiction of Chinese people is considered stereotypical by some because the figures are "caricatured". The entire painting, and its background story, can also be read as a satire on imperialism ("Rare Meats" being a culinary term for lightly cooked meat, while the painting goes to extremes to find food that is "rare" in the sense of being difficult to find). The room displaying the mural was closed as a restaurant in 2020. After a public campaign demanding The Tate acknowledge and address the racist depictions in the mural, the restaurant closed permanently reopening the room in 2024 including the site-specific commission by British artist Keith Piper to reframe the mural for contemporary audiences.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Explain the abstract of this artwork, The Expedition in Pursuit of Rare Meats.

The Expedition in Pursuit of Rare Meats is a mural by the English artist Rex Whistler (1905–1944), commissioned in 1926 and completed in 1927 at the Tate Gallery (now Tate Britain) in London. The mural was commissioned by the gallery's inaugural director, Charles Aitken, for the re-opening of its restaurant, where it forms the entire interior surround of what was the eponymously named eatery, "The Rex Whistler Restaurant".Concerns about the racist themes in the mural were first raised with The Tate following the restoration in 2013. In one scene, the artist depicts a black child who is chained to and being dragged behind a horse and cart and, in another scene, the artist's depiction of Chinese people is considered stereotypical by some because the figures are "caricatured". The entire painting, and its background story, can also be read as a satire on imperialism ("Rare Meats" being a culinary term for lightly cooked meat, while the painting goes to extremes to find food that is "rare" in the sense of being difficult to find). The room displaying the mural was closed as a restaurant in 2020. After a public campaign demanding The Tate acknowledge and address the racist depictions in the mural, the restaurant closed permanently reopening the room in 2024 including the site-specific commission by British artist Keith Piper to reframe the mural for contemporary audiences.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: How does The Expedition in Pursuit of Rare Meats explain its abstract?

The Expedition in Pursuit of Rare Meats is a mural by the English artist Rex Whistler (1905–1944), commissioned in 1926 and completed in 1927 at the Tate Gallery (now Tate Britain) in London. The mural was commissioned by the gallery's inaugural director, Charles Aitken, for the re-opening of its restaurant, where it forms the entire interior surround of what was the eponymously named eatery, "The Rex Whistler Restaurant".Concerns about the racist themes in the mural were first raised with The Tate following the restoration in 2013. In one scene, the artist depicts a black child who is chained to and being dragged behind a horse and cart and, in another scene, the artist's depiction of Chinese people is considered stereotypical by some because the figures are "caricatured". The entire painting, and its background story, can also be read as a satire on imperialism ("Rare Meats" being a culinary term for lightly cooked meat, while the painting goes to extremes to find food that is "rare" in the sense of being difficult to find). The room displaying the mural was closed as a restaurant in 2020. After a public campaign demanding The Tate acknowledge and address the racist depictions in the mural, the restaurant closed permanently reopening the room in 2024 including the site-specific commission by British artist Keith Piper to reframe the mural for contemporary audiences.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: In The Expedition in Pursuit of Rare Meats, how is the abstract discussed?

The Expedition in Pursuit of Rare Meats is a mural by the English artist Rex Whistler (1905–1944), commissioned in 1926 and completed in 1927 at the Tate Gallery (now Tate Britain) in London. The mural was commissioned by the gallery's inaugural director, Charles Aitken, for the re-opening of its restaurant, where it forms the entire interior surround of what was the eponymously named eatery, "The Rex Whistler Restaurant".Concerns about the racist themes in the mural were first raised with The Tate following the restoration in 2013. In one scene, the artist depicts a black child who is chained to and being dragged behind a horse and cart and, in another scene, the artist's depiction of Chinese people is considered stereotypical by some because the figures are "caricatured". The entire painting, and its background story, can also be read as a satire on imperialism ("Rare Meats" being a culinary term for lightly cooked meat, while the painting goes to extremes to find food that is "rare" in the sense of being difficult to find). The room displaying the mural was closed as a restaurant in 2020. After a public campaign demanding The Tate acknowledge and address the racist depictions in the mural, the restaurant closed permanently reopening the room in 2024 including the site-specific commission by British artist Keith Piper to reframe the mural for contemporary audiences.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Focus on The Expedition in Pursuit of Rare Meats and explain the History.

The mural was commissioned in 1926 and completed in 1927. Aitken had hoped that the high profile of the mural's commission would induce large restaurateurs like J. Lyons and Co. to fund murals in their establishments. It was funded by Joseph Duveen, who had previously funded the mosaics created by Boris Anrep for the entrance to the Tate in 1921. Duveen had suggested the creation of a refreshment room at the Tate in 1925, and had offered £500 (equivalent to £36,021 in 2023) towards its decoration with a mural. Rex Whistler was recommended for the job by Henry Tonks, who was part of the committee that chose the artist for the mural. Whistler was chosen for the project in 1926 while he was still a student at the Slade School of Art. Another member of the committee, Philip Sassoon, had favoured the artist Glyn Jones, and proposed a competition for the mural's design among alumni of the British School at Rome.Whistler was paid £5 a day (equivalent to £367 in 2023) over the 18 months it took to complete the work, and given a £100 bonus upon the work's completion (equivalent to £7,540 in 2023). His assistant, Nan West, was paid £3 per day. West's role was to mix colours and prepare Whistler's designs to be transferred to the large canvas. The mural was submerged during the flooding of the River Thames in January 1928 but was undamaged. The Expedition in Pursuit of Rare Meats was included in the Tate's 1939 exhibition Mural Painting in Great Britain, 1919 to 1939, which ran from May to June 1939.The mural was restored in 2013 as part of a £45 million refurbishment of Tate Britain. After the restoration, the restaurant re-opened as The Rex Whistler Restaurant in November 2013, serving a menu inspired by traditional British cuisine. In 2020 the restaurant closed because of the COVID-19 pandemic, during the closure there was a petition demanding that The Tate remove the mural and acknowledge the content as "racist and harmful". In December 2020, the trustees of The Tate acknowledged that the mural was "unequivocally... offensive", announced that the future of the mural was under review by the ethics committee, and commissioned a consultation on the mural and its presentation. In February 2022, the trustees announced that they would commission a site-specific installation" to reframe the mural for contemporary audiences. Keith Piper received the first commission, opening Viva Voce, a two-channel video installation in the room formerly used as a restaurant in March 2024.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Explain the History of this artwork, The Expedition in Pursuit of Rare Meats.

The mural was commissioned in 1926 and completed in 1927. Aitken had hoped that the high profile of the mural's commission would induce large restaurateurs like J. Lyons and Co. to fund murals in their establishments. It was funded by Joseph Duveen, who had previously funded the mosaics created by Boris Anrep for the entrance to the Tate in 1921. Duveen had suggested the creation of a refreshment room at the Tate in 1925, and had offered £500 (equivalent to £36,021 in 2023) towards its decoration with a mural. Rex Whistler was recommended for the job by Henry Tonks, who was part of the committee that chose the artist for the mural. Whistler was chosen for the project in 1926 while he was still a student at the Slade School of Art. Another member of the committee, Philip Sassoon, had favoured the artist Glyn Jones, and proposed a competition for the mural's design among alumni of the British School at Rome.Whistler was paid £5 a day (equivalent to £367 in 2023) over the 18 months it took to complete the work, and given a £100 bonus upon the work's completion (equivalent to £7,540 in 2023). His assistant, Nan West, was paid £3 per day. West's role was to mix colours and prepare Whistler's designs to be transferred to the large canvas. The mural was submerged during the flooding of the River Thames in January 1928 but was undamaged. The Expedition in Pursuit of Rare Meats was included in the Tate's 1939 exhibition Mural Painting in Great Britain, 1919 to 1939, which ran from May to June 1939.The mural was restored in 2013 as part of a £45 million refurbishment of Tate Britain. After the restoration, the restaurant re-opened as The Rex Whistler Restaurant in November 2013, serving a menu inspired by traditional British cuisine. In 2020 the restaurant closed because of the COVID-19 pandemic, during the closure there was a petition demanding that The Tate remove the mural and acknowledge the content as "racist and harmful". In December 2020, the trustees of The Tate acknowledged that the mural was "unequivocally... offensive", announced that the future of the mural was under review by the ethics committee, and commissioned a consultation on the mural and its presentation. In February 2022, the trustees announced that they would commission a site-specific installation" to reframe the mural for contemporary audiences. Keith Piper received the first commission, opening Viva Voce, a two-channel video installation in the room formerly used as a restaurant in March 2024.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: How does The Expedition in Pursuit of Rare Meats explain its History?

The mural was commissioned in 1926 and completed in 1927. Aitken had hoped that the high profile of the mural's commission would induce large restaurateurs like J. Lyons and Co. to fund murals in their establishments. It was funded by Joseph Duveen, who had previously funded the mosaics created by Boris Anrep for the entrance to the Tate in 1921. Duveen had suggested the creation of a refreshment room at the Tate in 1925, and had offered £500 (equivalent to £36,021 in 2023) towards its decoration with a mural. Rex Whistler was recommended for the job by Henry Tonks, who was part of the committee that chose the artist for the mural. Whistler was chosen for the project in 1926 while he was still a student at the Slade School of Art. Another member of the committee, Philip Sassoon, had favoured the artist Glyn Jones, and proposed a competition for the mural's design among alumni of the British School at Rome.Whistler was paid £5 a day (equivalent to £367 in 2023) over the 18 months it took to complete the work, and given a £100 bonus upon the work's completion (equivalent to £7,540 in 2023). His assistant, Nan West, was paid £3 per day. West's role was to mix colours and prepare Whistler's designs to be transferred to the large canvas. The mural was submerged during the flooding of the River Thames in January 1928 but was undamaged. The Expedition in Pursuit of Rare Meats was included in the Tate's 1939 exhibition Mural Painting in Great Britain, 1919 to 1939, which ran from May to June 1939.The mural was restored in 2013 as part of a £45 million refurbishment of Tate Britain. After the restoration, the restaurant re-opened as The Rex Whistler Restaurant in November 2013, serving a menu inspired by traditional British cuisine. In 2020 the restaurant closed because of the COVID-19 pandemic, during the closure there was a petition demanding that The Tate remove the mural and acknowledge the content as "racist and harmful". In December 2020, the trustees of The Tate acknowledged that the mural was "unequivocally... offensive", announced that the future of the mural was under review by the ethics committee, and commissioned a consultation on the mural and its presentation. In February 2022, the trustees announced that they would commission a site-specific installation" to reframe the mural for contemporary audiences. Keith Piper received the first commission, opening Viva Voce, a two-channel video installation in the room formerly used as a restaurant in March 2024.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: In The Expedition in Pursuit of Rare Meats, how is the History discussed?

The mural was commissioned in 1926 and completed in 1927. Aitken had hoped that the high profile of the mural's commission would induce large restaurateurs like J. Lyons and Co. to fund murals in their establishments. It was funded by Joseph Duveen, who had previously funded the mosaics created by Boris Anrep for the entrance to the Tate in 1921. Duveen had suggested the creation of a refreshment room at the Tate in 1925, and had offered £500 (equivalent to £36,021 in 2023) towards its decoration with a mural. Rex Whistler was recommended for the job by Henry Tonks, who was part of the committee that chose the artist for the mural. Whistler was chosen for the project in 1926 while he was still a student at the Slade School of Art. Another member of the committee, Philip Sassoon, had favoured the artist Glyn Jones, and proposed a competition for the mural's design among alumni of the British School at Rome.Whistler was paid £5 a day (equivalent to £367 in 2023) over the 18 months it took to complete the work, and given a £100 bonus upon the work's completion (equivalent to £7,540 in 2023). His assistant, Nan West, was paid £3 per day. West's role was to mix colours and prepare Whistler's designs to be transferred to the large canvas. The mural was submerged during the flooding of the River Thames in January 1928 but was undamaged. The Expedition in Pursuit of Rare Meats was included in the Tate's 1939 exhibition Mural Painting in Great Britain, 1919 to 1939, which ran from May to June 1939.The mural was restored in 2013 as part of a £45 million refurbishment of Tate Britain. After the restoration, the restaurant re-opened as The Rex Whistler Restaurant in November 2013, serving a menu inspired by traditional British cuisine. In 2020 the restaurant closed because of the COVID-19 pandemic, during the closure there was a petition demanding that The Tate remove the mural and acknowledge the content as "racist and harmful". In December 2020, the trustees of The Tate acknowledged that the mural was "unequivocally... offensive", announced that the future of the mural was under review by the ethics committee, and commissioned a consultation on the mural and its presentation. In February 2022, the trustees announced that they would commission a site-specific installation" to reframe the mural for contemporary audiences. Keith Piper received the first commission, opening Viva Voce, a two-channel video installation in the room formerly used as a restaurant in March 2024.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Focus on The Expedition in Pursuit of Rare Meats and explain the Design.

The action depicted in the mural takes place in the fictive land of "Epicurania" ruled over by the "Duke of Epicurania". The content of the mural was created in a collaboration between Whistler and the novelist Edith Olivier. The story articulated in the work depicts an account wherein an "expedition" of a group of seven people departs in search of exotic meats. They travel on all manner of transport—bicycles, carts and horses—from their point of departure the "Duchy of Epicurania", and venture through bizarre and enchanting lands while coming upon creatures such as unicorns, truffle dogs and two giant gluttons guarding the entrance to a cave. The tale finishes with the adventurers arriving back to an ebullient welcome, and the menu of the Epicuranians, which had previously consisted of dry biscuits, is forever changed." Several notable British buildings are depicted in the mural including the bridge at Wilton Park and an arch and pavilion in the grounds of Stowe House. Henry Tonks is portrayed in a bust that looks out from a grotto in the mural.The mural depicts the "enslavement of a black child and the distress of his mother" and later shows the child "running behind a horse and cart which he is attached to by a chain around his neck". The depicted figures are a few inches high, and would have been conspicuous to only a few diners.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Explain the Design of this artwork, The Expedition in Pursuit of Rare Meats.

The action depicted in the mural takes place in the fictive land of "Epicurania" ruled over by the "Duke of Epicurania". The content of the mural was created in a collaboration between Whistler and the novelist Edith Olivier. The story articulated in the work depicts an account wherein an "expedition" of a group of seven people departs in search of exotic meats. They travel on all manner of transport—bicycles, carts and horses—from their point of departure the "Duchy of Epicurania", and venture through bizarre and enchanting lands while coming upon creatures such as unicorns, truffle dogs and two giant gluttons guarding the entrance to a cave. The tale finishes with the adventurers arriving back to an ebullient welcome, and the menu of the Epicuranians, which had previously consisted of dry biscuits, is forever changed." Several notable British buildings are depicted in the mural including the bridge at Wilton Park and an arch and pavilion in the grounds of Stowe House. Henry Tonks is portrayed in a bust that looks out from a grotto in the mural.The mural depicts the "enslavement of a black child and the distress of his mother" and later shows the child "running behind a horse and cart which he is attached to by a chain around his neck". The depicted figures are a few inches high, and would have been conspicuous to only a few diners.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: How does The Expedition in Pursuit of Rare Meats explain its Design?

The action depicted in the mural takes place in the fictive land of "Epicurania" ruled over by the "Duke of Epicurania". The content of the mural was created in a collaboration between Whistler and the novelist Edith Olivier. The story articulated in the work depicts an account wherein an "expedition" of a group of seven people departs in search of exotic meats. They travel on all manner of transport—bicycles, carts and horses—from their point of departure the "Duchy of Epicurania", and venture through bizarre and enchanting lands while coming upon creatures such as unicorns, truffle dogs and two giant gluttons guarding the entrance to a cave. The tale finishes with the adventurers arriving back to an ebullient welcome, and the menu of the Epicuranians, which had previously consisted of dry biscuits, is forever changed." Several notable British buildings are depicted in the mural including the bridge at Wilton Park and an arch and pavilion in the grounds of Stowe House. Henry Tonks is portrayed in a bust that looks out from a grotto in the mural.The mural depicts the "enslavement of a black child and the distress of his mother" and later shows the child "running behind a horse and cart which he is attached to by a chain around his neck". The depicted figures are a few inches high, and would have been conspicuous to only a few diners.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: In The Expedition in Pursuit of Rare Meats, how is the Design discussed?

The action depicted in the mural takes place in the fictive land of "Epicurania" ruled over by the "Duke of Epicurania". The content of the mural was created in a collaboration between Whistler and the novelist Edith Olivier. The story articulated in the work depicts an account wherein an "expedition" of a group of seven people departs in search of exotic meats. They travel on all manner of transport—bicycles, carts and horses—from their point of departure the "Duchy of Epicurania", and venture through bizarre and enchanting lands while coming upon creatures such as unicorns, truffle dogs and two giant gluttons guarding the entrance to a cave. The tale finishes with the adventurers arriving back to an ebullient welcome, and the menu of the Epicuranians, which had previously consisted of dry biscuits, is forever changed." Several notable British buildings are depicted in the mural including the bridge at Wilton Park and an arch and pavilion in the grounds of Stowe House. Henry Tonks is portrayed in a bust that looks out from a grotto in the mural.The mural depicts the "enslavement of a black child and the distress of his mother" and later shows the child "running behind a horse and cart which he is attached to by a chain around his neck". The depicted figures are a few inches high, and would have been conspicuous to only a few diners.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Focus on The Expedition in Pursuit of Rare Meats and explain the Reception.

When the restaurant opened in 1927 with the mural completed Henry Tonks, a professor the Slade School of Fine Art who had recommended the artist, described it as "the most amusing room in Europe". This phrase was also used in the Tate's publicity when the restaurant reopened after the restoration in 2013. The mural is described as "one of the outstanding mural schemes of the Inter-War years" in Tate Britain's heritage listing in 1970 on the National Heritage List for England. Concerns about the racist themes in the mural were raised with The Tate in 2013, following the restoration and again in 2018.Writing in Apollo magazine in 2014, Digby Warde-Aldam remarked that "[l]ooking at the mural now is a strange experience; while its subject matter and frivolously gallant style are almost unutterably camp, there's a sombre sobriety to the tones of the paint that renders it an impressive work rather than the sort of kitsch and ephemerally fashionable diorama churned out by some of his contemporaries".

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Explain the Reception of this artwork, The Expedition in Pursuit of Rare Meats.

When the restaurant opened in 1927 with the mural completed Henry Tonks, a professor the Slade School of Fine Art who had recommended the artist, described it as "the most amusing room in Europe". This phrase was also used in the Tate's publicity when the restaurant reopened after the restoration in 2013. The mural is described as "one of the outstanding mural schemes of the Inter-War years" in Tate Britain's heritage listing in 1970 on the National Heritage List for England. Concerns about the racist themes in the mural were raised with The Tate in 2013, following the restoration and again in 2018.Writing in Apollo magazine in 2014, Digby Warde-Aldam remarked that "[l]ooking at the mural now is a strange experience; while its subject matter and frivolously gallant style are almost unutterably camp, there's a sombre sobriety to the tones of the paint that renders it an impressive work rather than the sort of kitsch and ephemerally fashionable diorama churned out by some of his contemporaries".

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: How does The Expedition in Pursuit of Rare Meats explain its Reception?

When the restaurant opened in 1927 with the mural completed Henry Tonks, a professor the Slade School of Fine Art who had recommended the artist, described it as "the most amusing room in Europe". This phrase was also used in the Tate's publicity when the restaurant reopened after the restoration in 2013. The mural is described as "one of the outstanding mural schemes of the Inter-War years" in Tate Britain's heritage listing in 1970 on the National Heritage List for England. Concerns about the racist themes in the mural were raised with The Tate in 2013, following the restoration and again in 2018.Writing in Apollo magazine in 2014, Digby Warde-Aldam remarked that "[l]ooking at the mural now is a strange experience; while its subject matter and frivolously gallant style are almost unutterably camp, there's a sombre sobriety to the tones of the paint that renders it an impressive work rather than the sort of kitsch and ephemerally fashionable diorama churned out by some of his contemporaries".

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: In The Expedition in Pursuit of Rare Meats, how is the Reception discussed?

When the restaurant opened in 1927 with the mural completed Henry Tonks, a professor the Slade School of Fine Art who had recommended the artist, described it as "the most amusing room in Europe". This phrase was also used in the Tate's publicity when the restaurant reopened after the restoration in 2013. The mural is described as "one of the outstanding mural schemes of the Inter-War years" in Tate Britain's heritage listing in 1970 on the National Heritage List for England. Concerns about the racist themes in the mural were raised with The Tate in 2013, following the restoration and again in 2018.Writing in Apollo magazine in 2014, Digby Warde-Aldam remarked that "[l]ooking at the mural now is a strange experience; while its subject matter and frivolously gallant style are almost unutterably camp, there's a sombre sobriety to the tones of the paint that renders it an impressive work rather than the sort of kitsch and ephemerally fashionable diorama churned out by some of his contemporaries".

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: In the context of The Expedition in Pursuit of Rare Meats, explain the 2020 petition and review and the Reception.

In July 2020, The White Pube, a duo of art critics, began a campaign against the mural on Instagram. A Change.org petition by the duo read: "The fundamental point of a high class restaurant (used primarily by an older white demographic) being installed with art of this horrific nature is not being acknowledged as the harmful and hateful issue it is" and that The Expedition in Pursuit of Rare Meats "sounds more like a concept for a horror film than what you would expect Britain's largest art institution to offer up as an exclusive dining experience...Tate Britain allowing this overtly racist painting to remain for diners' enjoyment is not acceptable". The Tate stated in response: "it is important to acknowledge the presence of offensive and unacceptable content and its relationship to racist and imperialist attitudes in the 1920s and today". The work was reviewed by an ethics committee which reported to the board of the Tate galleries in September 2020. The committee was headed by the Canadian postal executive Moya Greene. The committee reported that they were "unequivocal in their view that the imagery of the work is offensive" and that the offence was "compounded by the use of the room as a restaurant"; however, they stated that the work "should not be altered or removed" and that it is in the care of the Tate's trustees. The mural is part of the fabric of the Grade II* listed building and so cannot be easily resited. The room displaying the mural was closed as a restaurant in 2020.In August 2020 following a public campaign, The Tate removed a description from its website that had described the restaurant as "the most amusing room in Europe" and wrote that "Whistler's treatment of non-white figures reduces them to stereotypes" and that the gallery was "working to become a space that is more relevant, welcoming and inclusive for everyone". In a September 2020, trustees acknowledged that "previous contextualisation of the imagery has not been adequate."Martin Bailey wrote in The Art Newspaper that "Tate now faces a dilemma. As an art gallery, it can hardly cover the offending figures with a screen and it has a responsibility to allow public access to a work by an important early 20th-century British painter". The future visibility of the room will have to be determined, either by appointment or on a limited or permanent basis to visitors. A permanent security presence will also be required. The notoriety of the mural is also likely to attract many future visitors and thus increase the visibility of the offensive depictions. Bailey wrote that by "drawing attention to the two black children and the Chinese figures the overwhelming number of visitors will go to see the mural simply because of the controversy. They will focus on the offensive passages rather than engage with it as a work of art—and many more people are likely to view the inappropriate figures than a few years ago".

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg