Prompt: Focus on Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil and explain the abstract.

Francesca da Rimini and Paolo Malatesta appraised by Dante and Virgil (and several variant titles) is a composition painted in at least six very similar versions by Ary Scheffer between 1822 and 1855; all are in oils on canvas. The paintings show a scene from Dante's Inferno, of Dante and Virgil in the shadows to the right viewing the murdered lovers Francesca da Rimini and Paolo Malatesta in Hell. It "could be described as Scheffer's best work".

Category:Paintings in the Wallace Collection

Richard Seymour-Conway, 4th Marquess of Hertford

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists

Anatoly Nikolaievich Demidov, 1st Prince of San Donato


Prompt: Explain the abstract of this artwork, Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil.

Francesca da Rimini and Paolo Malatesta appraised by Dante and Virgil (and several variant titles) is a composition painted in at least six very similar versions by Ary Scheffer between 1822 and 1855; all are in oils on canvas. The paintings show a scene from Dante's Inferno, of Dante and Virgil in the shadows to the right viewing the murdered lovers Francesca da Rimini and Paolo Malatesta in Hell. It "could be described as Scheffer's best work".

Category:Paintings in the Wallace Collection

Richard Seymour-Conway, 4th Marquess of Hertford

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists

Anatoly Nikolaievich Demidov, 1st Prince of San Donato


Prompt: How does Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil explain its abstract?

Francesca da Rimini and Paolo Malatesta appraised by Dante and Virgil (and several variant titles) is a composition painted in at least six very similar versions by Ary Scheffer between 1822 and 1855; all are in oils on canvas. The paintings show a scene from Dante's Inferno, of Dante and Virgil in the shadows to the right viewing the murdered lovers Francesca da Rimini and Paolo Malatesta in Hell. It "could be described as Scheffer's best work".

Category:Paintings in the Wallace Collection

Richard Seymour-Conway, 4th Marquess of Hertford

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists

Anatoly Nikolaievich Demidov, 1st Prince of San Donato


Prompt: In Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil, how is the abstract discussed?

Francesca da Rimini and Paolo Malatesta appraised by Dante and Virgil (and several variant titles) is a composition painted in at least six very similar versions by Ary Scheffer between 1822 and 1855; all are in oils on canvas. The paintings show a scene from Dante's Inferno, of Dante and Virgil in the shadows to the right viewing the murdered lovers Francesca da Rimini and Paolo Malatesta in Hell. It "could be described as Scheffer's best work".

Category:Paintings in the Wallace Collection

Richard Seymour-Conway, 4th Marquess of Hertford

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists

Anatoly Nikolaievich Demidov, 1st Prince of San Donato


Prompt: Focus on Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil and explain the Background.

In the first volume, Inferno, of The Divine Comedy, Dante and Virgil meet Francesca and her lover Paolo in the second circle of hell, reserved for the lustful.Da Rimini's father had forced her to marry the lame Giovanni Malatesta for political reasons, but she fell in love with Giovanni's brother Paolo. The pair carried on a love affair for many years; but when Giovanni caught them kissing, he killed them with his sword.  The painting shows a wound on Paolo's chest and on Francesca's back due to his stabbing.The couple are trapped in an eternal whirlwind, doomed to be forever swept through the air just as they allowed themselves to be swept away by their passions. Dante calls out to the lovers, who are compelled to briefly pause before him, and he speaks with Francesca. She obliquely states a few of the details of her life and her death, and Dante, apparently familiar with her story, correctly identifies her by name. He asks her what led to her and Paolo's damnation, and Francesca's story strikes such a chord within Dante that he faints out of pity. The pair, depicted either during their life or following Dante, became a very popular subject in 19th-century art.

Category:Paintings in the Wallace Collection

Richard Seymour-Conway, 4th Marquess of Hertford

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists

Anatoly Nikolaievich Demidov, 1st Prince of San Donato


Prompt: Explain the Background of this artwork, Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil.

In the first volume, Inferno, of The Divine Comedy, Dante and Virgil meet Francesca and her lover Paolo in the second circle of hell, reserved for the lustful.Da Rimini's father had forced her to marry the lame Giovanni Malatesta for political reasons, but she fell in love with Giovanni's brother Paolo. The pair carried on a love affair for many years; but when Giovanni caught them kissing, he killed them with his sword.  The painting shows a wound on Paolo's chest and on Francesca's back due to his stabbing.The couple are trapped in an eternal whirlwind, doomed to be forever swept through the air just as they allowed themselves to be swept away by their passions. Dante calls out to the lovers, who are compelled to briefly pause before him, and he speaks with Francesca. She obliquely states a few of the details of her life and her death, and Dante, apparently familiar with her story, correctly identifies her by name. He asks her what led to her and Paolo's damnation, and Francesca's story strikes such a chord within Dante that he faints out of pity. The pair, depicted either during their life or following Dante, became a very popular subject in 19th-century art.

Category:Paintings in the Wallace Collection

Richard Seymour-Conway, 4th Marquess of Hertford

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists

Anatoly Nikolaievich Demidov, 1st Prince of San Donato


Prompt: How does Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil explain its Background?

In the first volume, Inferno, of The Divine Comedy, Dante and Virgil meet Francesca and her lover Paolo in the second circle of hell, reserved for the lustful.Da Rimini's father had forced her to marry the lame Giovanni Malatesta for political reasons, but she fell in love with Giovanni's brother Paolo. The pair carried on a love affair for many years; but when Giovanni caught them kissing, he killed them with his sword.  The painting shows a wound on Paolo's chest and on Francesca's back due to his stabbing.The couple are trapped in an eternal whirlwind, doomed to be forever swept through the air just as they allowed themselves to be swept away by their passions. Dante calls out to the lovers, who are compelled to briefly pause before him, and he speaks with Francesca. She obliquely states a few of the details of her life and her death, and Dante, apparently familiar with her story, correctly identifies her by name. He asks her what led to her and Paolo's damnation, and Francesca's story strikes such a chord within Dante that he faints out of pity. The pair, depicted either during their life or following Dante, became a very popular subject in 19th-century art.

Category:Paintings in the Wallace Collection

Richard Seymour-Conway, 4th Marquess of Hertford

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists

Anatoly Nikolaievich Demidov, 1st Prince of San Donato


Prompt: In Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil, how is the Background discussed?

In the first volume, Inferno, of The Divine Comedy, Dante and Virgil meet Francesca and her lover Paolo in the second circle of hell, reserved for the lustful.Da Rimini's father had forced her to marry the lame Giovanni Malatesta for political reasons, but she fell in love with Giovanni's brother Paolo. The pair carried on a love affair for many years; but when Giovanni caught them kissing, he killed them with his sword.  The painting shows a wound on Paolo's chest and on Francesca's back due to his stabbing.The couple are trapped in an eternal whirlwind, doomed to be forever swept through the air just as they allowed themselves to be swept away by their passions. Dante calls out to the lovers, who are compelled to briefly pause before him, and he speaks with Francesca. She obliquely states a few of the details of her life and her death, and Dante, apparently familiar with her story, correctly identifies her by name. He asks her what led to her and Paolo's damnation, and Francesca's story strikes such a chord within Dante that he faints out of pity. The pair, depicted either during their life or following Dante, became a very popular subject in 19th-century art.

Category:Paintings in the Wallace Collection

Richard Seymour-Conway, 4th Marquess of Hertford

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists

Anatoly Nikolaievich Demidov, 1st Prince of San Donato


Prompt: Focus on Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil and explain the Versions.

Like some other artists, for example William Powell Frith, Scheffer got in the habit of repeating his most successful paintings in smaller versions later in life, as his more recent works became less successful, and his role as a court painter was lost after the French Revolution of 1848.Scheffer first exhibited a painting of Paolo and Francesca at the Paris Salon in 1822. Although well received, it was overshadowed by The Barque of Dante, the first major painting by Eugène Delacroix, which was exhibited in the same room.  The current location of Scheffer's first painting of this subject is not known.The prime version was painted in 1835 and measures 166.5 by 234 centimetres (65.6 by 92.1 in). Considered Scheffer's best version of the subject, it was acquired in 1835 by Ferdinand Philippe, Duke of Orléans, inherited in 1842 by his wife Hélène, duchesse d'Orléans, and sold in Paris in January 1853 to Anatoly Nikolaievich Demidov, 1st Prince of San Donato. A heavily decorated frame, probably designed by Félicie de Fauveau, was added while it was in the Demidoff collection.  It was sold again in Paris in February 1870, bought by Richard Seymour-Conway, 4th Marquess of Hertford, and inherited by his illegitimate son Sir Richard Wallace, 1st Baronet. The work is now in the Wallace Collection in London.The Carnegie Museum of Art in Pittsburgh has a second full-size version from 1851 which measures 172.7 by 240 cm (68.0 by 94.5 in), which it acquired in 2015. Another much smaller version from 1851 measuring 24.7 by 33.2 centimetres (9.7 by 13.1 in) hangs at the Cleveland Museum of Art, Ohio.  It was acquired by the CMA in 1980, after passing through the hands of several collectors in London in the previous century.Another smaller version dated 1854, measuring 51.7 by 81.3 centimetres (20.4 by 32.0 in), is in the Hamburger Kunsthalle.  A third full-size version of 1855 is now in the Louvre in Paris; measuring 171 by 239 cm (67 by 94 in), it was acquired in 1900 from the estate of the artist's sister, Cornélia Scheffer.Various titles are used for the different versions of the painting:  Just Francesca da Rimini today at the Wallace CollectionThe Ghosts/Shades/Shadows of Francesca de Rimini and Paolo Malatesta Appear to Dante and Virgil by various sources, especially of the Hamburg and Paris versions.Dante and Virgil Encountering the Shades of Francesca da Rimini and Paolo Malatesta in the Underworld in PittsburghDante and Virgil Meeting the Shades of Francesca da Rimini and Paolo in ClevelandLes ombres de Francesca da Rimini et de Paolo Malatesta apparaissent à Dante et à Virgile by the Louvre.

Category:Paintings in the Wallace Collection

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists


Prompt: Explain the Versions of this artwork, Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil.

Like some other artists, for example William Powell Frith, Scheffer got in the habit of repeating his most successful paintings in smaller versions later in life, as his more recent works became less successful, and his role as a court painter was lost after the French Revolution of 1848.Scheffer first exhibited a painting of Paolo and Francesca at the Paris Salon in 1822. Although well received, it was overshadowed by The Barque of Dante, the first major painting by Eugène Delacroix, which was exhibited in the same room.  The current location of Scheffer's first painting of this subject is not known.The prime version was painted in 1835 and measures 166.5 by 234 centimetres (65.6 by 92.1 in). Considered Scheffer's best version of the subject, it was acquired in 1835 by Ferdinand Philippe, Duke of Orléans, inherited in 1842 by his wife Hélène, duchesse d'Orléans, and sold in Paris in January 1853 to Anatoly Nikolaievich Demidov, 1st Prince of San Donato. A heavily decorated frame, probably designed by Félicie de Fauveau, was added while it was in the Demidoff collection.  It was sold again in Paris in February 1870, bought by Richard Seymour-Conway, 4th Marquess of Hertford, and inherited by his illegitimate son Sir Richard Wallace, 1st Baronet. The work is now in the Wallace Collection in London.The Carnegie Museum of Art in Pittsburgh has a second full-size version from 1851 which measures 172.7 by 240 cm (68.0 by 94.5 in), which it acquired in 2015. Another much smaller version from 1851 measuring 24.7 by 33.2 centimetres (9.7 by 13.1 in) hangs at the Cleveland Museum of Art, Ohio.  It was acquired by the CMA in 1980, after passing through the hands of several collectors in London in the previous century.Another smaller version dated 1854, measuring 51.7 by 81.3 centimetres (20.4 by 32.0 in), is in the Hamburger Kunsthalle.  A third full-size version of 1855 is now in the Louvre in Paris; measuring 171 by 239 cm (67 by 94 in), it was acquired in 1900 from the estate of the artist's sister, Cornélia Scheffer.Various titles are used for the different versions of the painting:  Just Francesca da Rimini today at the Wallace CollectionThe Ghosts/Shades/Shadows of Francesca de Rimini and Paolo Malatesta Appear to Dante and Virgil by various sources, especially of the Hamburg and Paris versions.Dante and Virgil Encountering the Shades of Francesca da Rimini and Paolo Malatesta in the Underworld in PittsburghDante and Virgil Meeting the Shades of Francesca da Rimini and Paolo in ClevelandLes ombres de Francesca da Rimini et de Paolo Malatesta apparaissent à Dante et à Virgile by the Louvre.

Category:Paintings in the Wallace Collection

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists


Prompt: How does Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil explain its Versions?

Like some other artists, for example William Powell Frith, Scheffer got in the habit of repeating his most successful paintings in smaller versions later in life, as his more recent works became less successful, and his role as a court painter was lost after the French Revolution of 1848.Scheffer first exhibited a painting of Paolo and Francesca at the Paris Salon in 1822. Although well received, it was overshadowed by The Barque of Dante, the first major painting by Eugène Delacroix, which was exhibited in the same room.  The current location of Scheffer's first painting of this subject is not known.The prime version was painted in 1835 and measures 166.5 by 234 centimetres (65.6 by 92.1 in). Considered Scheffer's best version of the subject, it was acquired in 1835 by Ferdinand Philippe, Duke of Orléans, inherited in 1842 by his wife Hélène, duchesse d'Orléans, and sold in Paris in January 1853 to Anatoly Nikolaievich Demidov, 1st Prince of San Donato. A heavily decorated frame, probably designed by Félicie de Fauveau, was added while it was in the Demidoff collection.  It was sold again in Paris in February 1870, bought by Richard Seymour-Conway, 4th Marquess of Hertford, and inherited by his illegitimate son Sir Richard Wallace, 1st Baronet. The work is now in the Wallace Collection in London.The Carnegie Museum of Art in Pittsburgh has a second full-size version from 1851 which measures 172.7 by 240 cm (68.0 by 94.5 in), which it acquired in 2015. Another much smaller version from 1851 measuring 24.7 by 33.2 centimetres (9.7 by 13.1 in) hangs at the Cleveland Museum of Art, Ohio.  It was acquired by the CMA in 1980, after passing through the hands of several collectors in London in the previous century.Another smaller version dated 1854, measuring 51.7 by 81.3 centimetres (20.4 by 32.0 in), is in the Hamburger Kunsthalle.  A third full-size version of 1855 is now in the Louvre in Paris; measuring 171 by 239 cm (67 by 94 in), it was acquired in 1900 from the estate of the artist's sister, Cornélia Scheffer.Various titles are used for the different versions of the painting:  Just Francesca da Rimini today at the Wallace CollectionThe Ghosts/Shades/Shadows of Francesca de Rimini and Paolo Malatesta Appear to Dante and Virgil by various sources, especially of the Hamburg and Paris versions.Dante and Virgil Encountering the Shades of Francesca da Rimini and Paolo Malatesta in the Underworld in PittsburghDante and Virgil Meeting the Shades of Francesca da Rimini and Paolo in ClevelandLes ombres de Francesca da Rimini et de Paolo Malatesta apparaissent à Dante et à Virgile by the Louvre.

Category:Paintings in the Wallace Collection

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists


Prompt: In Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil, how is the Versions discussed?

Like some other artists, for example William Powell Frith, Scheffer got in the habit of repeating his most successful paintings in smaller versions later in life, as his more recent works became less successful, and his role as a court painter was lost after the French Revolution of 1848.Scheffer first exhibited a painting of Paolo and Francesca at the Paris Salon in 1822. Although well received, it was overshadowed by The Barque of Dante, the first major painting by Eugène Delacroix, which was exhibited in the same room.  The current location of Scheffer's first painting of this subject is not known.The prime version was painted in 1835 and measures 166.5 by 234 centimetres (65.6 by 92.1 in). Considered Scheffer's best version of the subject, it was acquired in 1835 by Ferdinand Philippe, Duke of Orléans, inherited in 1842 by his wife Hélène, duchesse d'Orléans, and sold in Paris in January 1853 to Anatoly Nikolaievich Demidov, 1st Prince of San Donato. A heavily decorated frame, probably designed by Félicie de Fauveau, was added while it was in the Demidoff collection.  It was sold again in Paris in February 1870, bought by Richard Seymour-Conway, 4th Marquess of Hertford, and inherited by his illegitimate son Sir Richard Wallace, 1st Baronet. The work is now in the Wallace Collection in London.The Carnegie Museum of Art in Pittsburgh has a second full-size version from 1851 which measures 172.7 by 240 cm (68.0 by 94.5 in), which it acquired in 2015. Another much smaller version from 1851 measuring 24.7 by 33.2 centimetres (9.7 by 13.1 in) hangs at the Cleveland Museum of Art, Ohio.  It was acquired by the CMA in 1980, after passing through the hands of several collectors in London in the previous century.Another smaller version dated 1854, measuring 51.7 by 81.3 centimetres (20.4 by 32.0 in), is in the Hamburger Kunsthalle.  A third full-size version of 1855 is now in the Louvre in Paris; measuring 171 by 239 cm (67 by 94 in), it was acquired in 1900 from the estate of the artist's sister, Cornélia Scheffer.Various titles are used for the different versions of the painting:  Just Francesca da Rimini today at the Wallace CollectionThe Ghosts/Shades/Shadows of Francesca de Rimini and Paolo Malatesta Appear to Dante and Virgil by various sources, especially of the Hamburg and Paris versions.Dante and Virgil Encountering the Shades of Francesca da Rimini and Paolo Malatesta in the Underworld in PittsburghDante and Virgil Meeting the Shades of Francesca da Rimini and Paolo in ClevelandLes ombres de Francesca da Rimini et de Paolo Malatesta apparaissent à Dante et à Virgile by the Louvre.

Category:Paintings in the Wallace Collection

Category:Paintings in the Louvre by Dutch artists

Category:Paintings based on works by Dante Alighieri

Category:Cultural depictions of Francesca da Rimini

Category:Paintings in the Hamburger Kunsthalle

Prince Ferdinand Philippe, Duke of Orléans

Anatoly Demidov, 1st Prince of San Donato

Category:Paintings in the Louvre by French artists


Girl with a Red Hat

Prompt: Focus on Girl with a Red Hat and explain the abstract.

Girl with a Red Hat is a rather small painting, signed by the Dutch painter Johannes Vermeer. It is seen as one of a number of Vermeer's tronies – depictions of models fancifully dressed that were not (as far as is known) intended to be portraits of specific, identifiable subjects. Whether Vermeer chose family members as models or found them elsewhere in Delft is irrelevant to the appreciation of his paintings. Its attribution to Vermeer – as it is on a (recycled) wood panel and not on canvas – has been a matter of controversy with scholars on both sides of the argument. However, in recent study carried out by the curators of National Gallery of Art certainty has been established on the authorship of the painting by Vermeer, a conclusion also supported by Dutch experts.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: Explain the abstract of this artwork, Girl with a Red Hat.

Girl with a Red Hat is a rather small painting, signed by the Dutch painter Johannes Vermeer. It is seen as one of a number of Vermeer's tronies – depictions of models fancifully dressed that were not (as far as is known) intended to be portraits of specific, identifiable subjects. Whether Vermeer chose family members as models or found them elsewhere in Delft is irrelevant to the appreciation of his paintings. Its attribution to Vermeer – as it is on a (recycled) wood panel and not on canvas – has been a matter of controversy with scholars on both sides of the argument. However, in recent study carried out by the curators of National Gallery of Art certainty has been established on the authorship of the painting by Vermeer, a conclusion also supported by Dutch experts.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: How does Girl with a Red Hat explain its abstract?

Girl with a Red Hat is a rather small painting, signed by the Dutch painter Johannes Vermeer. It is seen as one of a number of Vermeer's tronies – depictions of models fancifully dressed that were not (as far as is known) intended to be portraits of specific, identifiable subjects. Whether Vermeer chose family members as models or found them elsewhere in Delft is irrelevant to the appreciation of his paintings. Its attribution to Vermeer – as it is on a (recycled) wood panel and not on canvas – has been a matter of controversy with scholars on both sides of the argument. However, in recent study carried out by the curators of National Gallery of Art certainty has been established on the authorship of the painting by Vermeer, a conclusion also supported by Dutch experts.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: In Girl with a Red Hat, how is the abstract discussed?

Girl with a Red Hat is a rather small painting, signed by the Dutch painter Johannes Vermeer. It is seen as one of a number of Vermeer's tronies – depictions of models fancifully dressed that were not (as far as is known) intended to be portraits of specific, identifiable subjects. Whether Vermeer chose family members as models or found them elsewhere in Delft is irrelevant to the appreciation of his paintings. Its attribution to Vermeer – as it is on a (recycled) wood panel and not on canvas – has been a matter of controversy with scholars on both sides of the argument. However, in recent study carried out by the curators of National Gallery of Art certainty has been established on the authorship of the painting by Vermeer, a conclusion also supported by Dutch experts.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: Focus on Girl with a Red Hat and explain the Subject of the portrait.

The portrait depicts a very young woman dressed in blue, wearing a collar that appears to be lace and a red hat. Her hair is up and she wears a pair of dangling earrings. She looks at the spectator as if she has just turned her head in the direction of a sound, a voice, that has captured her attention. Her mouth is ajar and her face, slightly pink, receives light from the right, which is unusual in the works of Johannes Vermeer.However, after a study using the latest technology in preparation for a 2022 exhibition, titled Vermeer's Secrets it was ascertained that Vermeer began by painting the portrait of a man wearing a wide-brimmed hat.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: Explain the Subject of the portrait of this artwork, Girl with a Red Hat.

The portrait depicts a very young woman dressed in blue, wearing a collar that appears to be lace and a red hat. Her hair is up and she wears a pair of dangling earrings. She looks at the spectator as if she has just turned her head in the direction of a sound, a voice, that has captured her attention. Her mouth is ajar and her face, slightly pink, receives light from the right, which is unusual in the works of Johannes Vermeer.However, after a study using the latest technology in preparation for a 2022 exhibition, titled Vermeer's Secrets it was ascertained that Vermeer began by painting the portrait of a man wearing a wide-brimmed hat.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: How does Girl with a Red Hat explain its Subject of the portrait?

The portrait depicts a very young woman dressed in blue, wearing a collar that appears to be lace and a red hat. Her hair is up and she wears a pair of dangling earrings. She looks at the spectator as if she has just turned her head in the direction of a sound, a voice, that has captured her attention. Her mouth is ajar and her face, slightly pink, receives light from the right, which is unusual in the works of Johannes Vermeer.However, after a study using the latest technology in preparation for a 2022 exhibition, titled Vermeer's Secrets it was ascertained that Vermeer began by painting the portrait of a man wearing a wide-brimmed hat.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: In Girl with a Red Hat, how is the Subject of the portrait discussed?

The portrait depicts a very young woman dressed in blue, wearing a collar that appears to be lace and a red hat. Her hair is up and she wears a pair of dangling earrings. She looks at the spectator as if she has just turned her head in the direction of a sound, a voice, that has captured her attention. Her mouth is ajar and her face, slightly pink, receives light from the right, which is unusual in the works of Johannes Vermeer.However, after a study using the latest technology in preparation for a 2022 exhibition, titled Vermeer's Secrets it was ascertained that Vermeer began by painting the portrait of a man wearing a wide-brimmed hat.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: Focus on Girl with a Red Hat and explain the Authorship.

According to the specialized newspaper The Art Newspaper, a multidisciplinary team came to the conclusion that the painting was without a doubt a Vermeer, who probably painted no more than 40 or 50 works over a 22-year career, of which only 35 are known.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: Explain the Authorship of this artwork, Girl with a Red Hat.

According to the specialized newspaper The Art Newspaper, a multidisciplinary team came to the conclusion that the painting was without a doubt a Vermeer, who probably painted no more than 40 or 50 works over a 22-year career, of which only 35 are known.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: How does Girl with a Red Hat explain its Authorship?

According to the specialized newspaper The Art Newspaper, a multidisciplinary team came to the conclusion that the painting was without a doubt a Vermeer, who probably painted no more than 40 or 50 works over a 22-year career, of which only 35 are known.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: In Girl with a Red Hat, how is the Authorship discussed?

According to the specialized newspaper The Art Newspaper, a multidisciplinary team came to the conclusion that the painting was without a doubt a Vermeer, who probably painted no more than 40 or 50 works over a 22-year career, of which only 35 are known.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: Focus on Girl with a Red Hat and explain the Provenance.

The painting, supposedly executed ca. 1669, may have been among those owned by Vermeer's patron, Pieter Claesz van Ruijven and possibly, through inheritance it may have been passed on to his wife, Maria de Knuijt who died 1681; her daughter, Magdalena van Ruijven; and Magdalena's husband, Jacob Abrahamsz Dissius. It is thought to have been sold at an auction in Amsterdam on May 16, 1696 (probably no. 38, 39 or 40).It was bought at a sale at the Hôtel de Bouillon, in Paris on December 10, 1822 (no. 28.) by Baron Louis Marie Baptiste Atthalin for 200 French francs. After his death it came to his nephew and adopted son, Laurent Atthalin; by inheritance to Baron Gaston Laurent-Atthelin and by inheritance to his wife, Baroness Laurent-Atthelin. The painting was sold by M. Knoedler & Co., New York and London, in November 1925 to Andrew W. Mellon for $290,000, who deeded it on March 30, 1932 to The A.W. Mellon Educational and Charitable Trust in Pittsburgh (a holding-place for Mellon's pictures while the National Gallery of Art was being established). The trust gave it to the NGA in 1937.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: Explain the Provenance of this artwork, Girl with a Red Hat.

The painting, supposedly executed ca. 1669, may have been among those owned by Vermeer's patron, Pieter Claesz van Ruijven and possibly, through inheritance it may have been passed on to his wife, Maria de Knuijt who died 1681; her daughter, Magdalena van Ruijven; and Magdalena's husband, Jacob Abrahamsz Dissius. It is thought to have been sold at an auction in Amsterdam on May 16, 1696 (probably no. 38, 39 or 40).It was bought at a sale at the Hôtel de Bouillon, in Paris on December 10, 1822 (no. 28.) by Baron Louis Marie Baptiste Atthalin for 200 French francs. After his death it came to his nephew and adopted son, Laurent Atthalin; by inheritance to Baron Gaston Laurent-Atthelin and by inheritance to his wife, Baroness Laurent-Atthelin. The painting was sold by M. Knoedler & Co., New York and London, in November 1925 to Andrew W. Mellon for $290,000, who deeded it on March 30, 1932 to The A.W. Mellon Educational and Charitable Trust in Pittsburgh (a holding-place for Mellon's pictures while the National Gallery of Art was being established). The trust gave it to the NGA in 1937.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: How does Girl with a Red Hat explain its Provenance?

The painting, supposedly executed ca. 1669, may have been among those owned by Vermeer's patron, Pieter Claesz van Ruijven and possibly, through inheritance it may have been passed on to his wife, Maria de Knuijt who died 1681; her daughter, Magdalena van Ruijven; and Magdalena's husband, Jacob Abrahamsz Dissius. It is thought to have been sold at an auction in Amsterdam on May 16, 1696 (probably no. 38, 39 or 40).It was bought at a sale at the Hôtel de Bouillon, in Paris on December 10, 1822 (no. 28.) by Baron Louis Marie Baptiste Atthalin for 200 French francs. After his death it came to his nephew and adopted son, Laurent Atthalin; by inheritance to Baron Gaston Laurent-Atthelin and by inheritance to his wife, Baroness Laurent-Atthelin. The painting was sold by M. Knoedler & Co., New York and London, in November 1925 to Andrew W. Mellon for $290,000, who deeded it on March 30, 1932 to The A.W. Mellon Educational and Charitable Trust in Pittsburgh (a holding-place for Mellon's pictures while the National Gallery of Art was being established). The trust gave it to the NGA in 1937.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: In Girl with a Red Hat, how is the Provenance discussed?

The painting, supposedly executed ca. 1669, may have been among those owned by Vermeer's patron, Pieter Claesz van Ruijven and possibly, through inheritance it may have been passed on to his wife, Maria de Knuijt who died 1681; her daughter, Magdalena van Ruijven; and Magdalena's husband, Jacob Abrahamsz Dissius. It is thought to have been sold at an auction in Amsterdam on May 16, 1696 (probably no. 38, 39 or 40).It was bought at a sale at the Hôtel de Bouillon, in Paris on December 10, 1822 (no. 28.) by Baron Louis Marie Baptiste Atthalin for 200 French francs. After his death it came to his nephew and adopted son, Laurent Atthalin; by inheritance to Baron Gaston Laurent-Atthelin and by inheritance to his wife, Baroness Laurent-Atthelin. The painting was sold by M. Knoedler & Co., New York and London, in November 1925 to Andrew W. Mellon for $290,000, who deeded it on March 30, 1932 to The A.W. Mellon Educational and Charitable Trust in Pittsburgh (a holding-place for Mellon's pictures while the National Gallery of Art was being established). The trust gave it to the NGA in 1937.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: Focus on Girl with a Red Hat and explain the Painting materials.

The older pigment analysis by H. Kuhn was supplemented by a more recent investigation. The red hat is painted in two layers: the lower layer consists of vermilion mixed with a black pigment, the upper layer is a madder lake glaze. Vermeer used a mixture of azurite and yellow ochre for the green areas and umber (umbra) for the browns in the wall.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: Explain the Painting materials of this artwork, Girl with a Red Hat.

The older pigment analysis by H. Kuhn was supplemented by a more recent investigation. The red hat is painted in two layers: the lower layer consists of vermilion mixed with a black pigment, the upper layer is a madder lake glaze. Vermeer used a mixture of azurite and yellow ochre for the green areas and umber (umbra) for the browns in the wall.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: How does Girl with a Red Hat explain its Painting materials?

The older pigment analysis by H. Kuhn was supplemented by a more recent investigation. The red hat is painted in two layers: the lower layer consists of vermilion mixed with a black pigment, the upper layer is a madder lake glaze. Vermeer used a mixture of azurite and yellow ochre for the green areas and umber (umbra) for the browns in the wall.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Girl with a Red Hat

Prompt: In Girl with a Red Hat, how is the Painting materials discussed?

The older pigment analysis by H. Kuhn was supplemented by a more recent investigation. The red hat is painted in two layers: the lower layer consists of vermilion mixed with a black pigment, the upper layer is a madder lake glaze. Vermeer used a mixture of azurite and yellow ochre for the green areas and umber (umbra) for the browns in the wall.

Category:Paintings in the National Gallery of Art

Category:Genre paintings by Johannes Vermeer


Diana (Saint-Gaudens)

Prompt: Focus on Diana (Saint-Gaudens) and explain the abstract.

Diana – also known as Diana of the Tower – is an iconic statue by sculptor Augustus Saint-Gaudens, representing the goddess Diana. Once a major artistic feature of New York City, the second version stood atop the tower of Madison Square Garden from 1893 to 1925. Since 1932, it has been in the collection of the Philadelphia Museum of Art.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Explain the abstract of this artwork, Diana (Saint-Gaudens).

Diana – also known as Diana of the Tower – is an iconic statue by sculptor Augustus Saint-Gaudens, representing the goddess Diana. Once a major artistic feature of New York City, the second version stood atop the tower of Madison Square Garden from 1893 to 1925. Since 1932, it has been in the collection of the Philadelphia Museum of Art.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: How does Diana (Saint-Gaudens) explain its abstract?

Diana – also known as Diana of the Tower – is an iconic statue by sculptor Augustus Saint-Gaudens, representing the goddess Diana. Once a major artistic feature of New York City, the second version stood atop the tower of Madison Square Garden from 1893 to 1925. Since 1932, it has been in the collection of the Philadelphia Museum of Art.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: In Diana (Saint-Gaudens), how is the abstract discussed?

Diana – also known as Diana of the Tower – is an iconic statue by sculptor Augustus Saint-Gaudens, representing the goddess Diana. Once a major artistic feature of New York City, the second version stood atop the tower of Madison Square Garden from 1893 to 1925. Since 1932, it has been in the collection of the Philadelphia Museum of Art.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Focus on Diana (Saint-Gaudens) and explain the First version (1891–92).

Diana was commissioned by architect Stanford White as a weather vane for the tower of Madison Square Garden, a theater-and-dining complex at 26th Street and Madison Avenue in Manhattan. He talked his friend Saint-Gaudens into creating it at no charge, and picked up the cost of materials. Model Julia "Dudie" Baird posed for the body of the statue. Its face is that of Davida Johnson Clark, Saint-Gaudens's long-time model and mother of his illegitimate son Louis.The first version – built by the W. H. Mullins Manufacturing Company in Salem, Ohio – was 18 ft (5.5 m) tall and weighed 1,800 lb (820 kg). Saint-Gaudens's design specified that the figure appear to delicately balance on its left toe atop a ball. However, the Ohio metal shop was unable to pass the rotating rod through the toe, so the design was altered and the figure instead was poised (less-gracefully) on its heel.Diana was unveiled atop Madison Square Garden's tower on September 29, 1891. The 304-foot (92.66 m) building had been completed a year earlier, and was the second-tallest in New York City. But the addition of the statue made it the city's tallest, by 13 feet (3.96 m). The figure's billowing copper foulard (scarf) was intended to catch the wind, but the statue did not rotate smoothly because of its weight. Diana's nudity offended moral crusader Anthony Comstock and his New York Society for the Suppression of Vice. To placate Comstock and to increase the likelihood of its catching the wind, Saint-Gaudens draped the figure in cloth, but the cloth blew away.Soon after installation, both White and Saint-Gaudens concluded that the figure was too large for the building, and decided to create a smaller, lighter replacement. Following less than a year atop the tower, the statue was removed and shipped to Chicago to be exhibited at the 1893 World's Columbian Exposition. New Yorker W. T. Henderson wrote a tongue-in-cheek poetic tribute – "Diana Off the Tower" – a play on both the statue's name and situation.Saint-Gaudens served as head of the Chicago exposition's sculpture committee. His initial plan had been to place Diana atop the Women's Pavilion, but the city's Women's Christian Temperance Union protested and insisted that the controversial nude figure be clothed. Instead, it was placed atop the Agricultural Building.The original Diana does not survive. In June 1894, eight months after the exposition's closing, a major fire tore through its buildings. The lower half of the statue was destroyed; the upper half survived the fire, but was later lost or discarded.

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

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

Category:Sculptures by Augustus Saint-Gaudens

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Explain the First version (1891–92) of this artwork, Diana (Saint-Gaudens).

Diana was commissioned by architect Stanford White as a weather vane for the tower of Madison Square Garden, a theater-and-dining complex at 26th Street and Madison Avenue in Manhattan. He talked his friend Saint-Gaudens into creating it at no charge, and picked up the cost of materials. Model Julia "Dudie" Baird posed for the body of the statue. Its face is that of Davida Johnson Clark, Saint-Gaudens's long-time model and mother of his illegitimate son Louis.The first version – built by the W. H. Mullins Manufacturing Company in Salem, Ohio – was 18 ft (5.5 m) tall and weighed 1,800 lb (820 kg). Saint-Gaudens's design specified that the figure appear to delicately balance on its left toe atop a ball. However, the Ohio metal shop was unable to pass the rotating rod through the toe, so the design was altered and the figure instead was poised (less-gracefully) on its heel.Diana was unveiled atop Madison Square Garden's tower on September 29, 1891. The 304-foot (92.66 m) building had been completed a year earlier, and was the second-tallest in New York City. But the addition of the statue made it the city's tallest, by 13 feet (3.96 m). The figure's billowing copper foulard (scarf) was intended to catch the wind, but the statue did not rotate smoothly because of its weight. Diana's nudity offended moral crusader Anthony Comstock and his New York Society for the Suppression of Vice. To placate Comstock and to increase the likelihood of its catching the wind, Saint-Gaudens draped the figure in cloth, but the cloth blew away.Soon after installation, both White and Saint-Gaudens concluded that the figure was too large for the building, and decided to create a smaller, lighter replacement. Following less than a year atop the tower, the statue was removed and shipped to Chicago to be exhibited at the 1893 World's Columbian Exposition. New Yorker W. T. Henderson wrote a tongue-in-cheek poetic tribute – "Diana Off the Tower" – a play on both the statue's name and situation.Saint-Gaudens served as head of the Chicago exposition's sculpture committee. His initial plan had been to place Diana atop the Women's Pavilion, but the city's Women's Christian Temperance Union protested and insisted that the controversial nude figure be clothed. Instead, it was placed atop the Agricultural Building.The original Diana does not survive. In June 1894, eight months after the exposition's closing, a major fire tore through its buildings. The lower half of the statue was destroyed; the upper half survived the fire, but was later lost or discarded.

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

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

Category:Sculptures by Augustus Saint-Gaudens

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: How does Diana (Saint-Gaudens) explain its First version (1891–92)?

Diana was commissioned by architect Stanford White as a weather vane for the tower of Madison Square Garden, a theater-and-dining complex at 26th Street and Madison Avenue in Manhattan. He talked his friend Saint-Gaudens into creating it at no charge, and picked up the cost of materials. Model Julia "Dudie" Baird posed for the body of the statue. Its face is that of Davida Johnson Clark, Saint-Gaudens's long-time model and mother of his illegitimate son Louis.The first version – built by the W. H. Mullins Manufacturing Company in Salem, Ohio – was 18 ft (5.5 m) tall and weighed 1,800 lb (820 kg). Saint-Gaudens's design specified that the figure appear to delicately balance on its left toe atop a ball. However, the Ohio metal shop was unable to pass the rotating rod through the toe, so the design was altered and the figure instead was poised (less-gracefully) on its heel.Diana was unveiled atop Madison Square Garden's tower on September 29, 1891. The 304-foot (92.66 m) building had been completed a year earlier, and was the second-tallest in New York City. But the addition of the statue made it the city's tallest, by 13 feet (3.96 m). The figure's billowing copper foulard (scarf) was intended to catch the wind, but the statue did not rotate smoothly because of its weight. Diana's nudity offended moral crusader Anthony Comstock and his New York Society for the Suppression of Vice. To placate Comstock and to increase the likelihood of its catching the wind, Saint-Gaudens draped the figure in cloth, but the cloth blew away.Soon after installation, both White and Saint-Gaudens concluded that the figure was too large for the building, and decided to create a smaller, lighter replacement. Following less than a year atop the tower, the statue was removed and shipped to Chicago to be exhibited at the 1893 World's Columbian Exposition. New Yorker W. T. Henderson wrote a tongue-in-cheek poetic tribute – "Diana Off the Tower" – a play on both the statue's name and situation.Saint-Gaudens served as head of the Chicago exposition's sculpture committee. His initial plan had been to place Diana atop the Women's Pavilion, but the city's Women's Christian Temperance Union protested and insisted that the controversial nude figure be clothed. Instead, it was placed atop the Agricultural Building.The original Diana does not survive. In June 1894, eight months after the exposition's closing, a major fire tore through its buildings. The lower half of the statue was destroyed; the upper half survived the fire, but was later lost or discarded.

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

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

Category:Sculptures by Augustus Saint-Gaudens

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: In Diana (Saint-Gaudens), how is the First version (1891–92) discussed?

Diana was commissioned by architect Stanford White as a weather vane for the tower of Madison Square Garden, a theater-and-dining complex at 26th Street and Madison Avenue in Manhattan. He talked his friend Saint-Gaudens into creating it at no charge, and picked up the cost of materials. Model Julia "Dudie" Baird posed for the body of the statue. Its face is that of Davida Johnson Clark, Saint-Gaudens's long-time model and mother of his illegitimate son Louis.The first version – built by the W. H. Mullins Manufacturing Company in Salem, Ohio – was 18 ft (5.5 m) tall and weighed 1,800 lb (820 kg). Saint-Gaudens's design specified that the figure appear to delicately balance on its left toe atop a ball. However, the Ohio metal shop was unable to pass the rotating rod through the toe, so the design was altered and the figure instead was poised (less-gracefully) on its heel.Diana was unveiled atop Madison Square Garden's tower on September 29, 1891. The 304-foot (92.66 m) building had been completed a year earlier, and was the second-tallest in New York City. But the addition of the statue made it the city's tallest, by 13 feet (3.96 m). The figure's billowing copper foulard (scarf) was intended to catch the wind, but the statue did not rotate smoothly because of its weight. Diana's nudity offended moral crusader Anthony Comstock and his New York Society for the Suppression of Vice. To placate Comstock and to increase the likelihood of its catching the wind, Saint-Gaudens draped the figure in cloth, but the cloth blew away.Soon after installation, both White and Saint-Gaudens concluded that the figure was too large for the building, and decided to create a smaller, lighter replacement. Following less than a year atop the tower, the statue was removed and shipped to Chicago to be exhibited at the 1893 World's Columbian Exposition. New Yorker W. T. Henderson wrote a tongue-in-cheek poetic tribute – "Diana Off the Tower" – a play on both the statue's name and situation.Saint-Gaudens served as head of the Chicago exposition's sculpture committee. His initial plan had been to place Diana atop the Women's Pavilion, but the city's Women's Christian Temperance Union protested and insisted that the controversial nude figure be clothed. Instead, it was placed atop the Agricultural Building.The original Diana does not survive. In June 1894, eight months after the exposition's closing, a major fire tore through its buildings. The lower half of the statue was destroyed; the upper half survived the fire, but was later lost or discarded.

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

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

Category:Sculptures by Augustus Saint-Gaudens

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Focus on Diana (Saint-Gaudens) and explain the Second version (1893–present).

Diana was completely redesigned by Saint-Gaudens – with a more elegant pose, a different thrust to the body, a thinner figure, smaller breasts and a more graceful angle to the leg.  To better fit the proportions of Madison Square Garden's tower, the statue's height was scaled down to 14.5 feet (4.4 m). The second version was made of hollowed copper, and weighed 700 lb (318 kg) – more than 60% less than the first version – light enough to rotate with the wind. As Saint-Gaudens originally envisioned, the figure was balanced on its left toe atop a ball. The statue was hoisted to the top of the tower on November 18, 1893.During the day, the gilded figure caught the sun and could be seen from all over the city and as far away as New Jersey.  Electric lights, then a novelty, illuminated it at night; it was the first statue in history to be lit by electricity.Madison Square Garden was slated to be demolished in 1925 to make way for construction of the New York Life Building. Prior to the building's demolition, Diana was removed and put in storage. The intention was for the statue to remain in New York City, however a seven year search to find a place to display it proved futile.  In 1932, the New York Life Insurance Company presented Diana to the Philadelphia Museum of Art as a gift. It remains displayed on the balcony of the museum's Great Stair Hall.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Explain the Second version (1893–present) of this artwork, Diana (Saint-Gaudens).

Diana was completely redesigned by Saint-Gaudens – with a more elegant pose, a different thrust to the body, a thinner figure, smaller breasts and a more graceful angle to the leg.  To better fit the proportions of Madison Square Garden's tower, the statue's height was scaled down to 14.5 feet (4.4 m). The second version was made of hollowed copper, and weighed 700 lb (318 kg) – more than 60% less than the first version – light enough to rotate with the wind. As Saint-Gaudens originally envisioned, the figure was balanced on its left toe atop a ball. The statue was hoisted to the top of the tower on November 18, 1893.During the day, the gilded figure caught the sun and could be seen from all over the city and as far away as New Jersey.  Electric lights, then a novelty, illuminated it at night; it was the first statue in history to be lit by electricity.Madison Square Garden was slated to be demolished in 1925 to make way for construction of the New York Life Building. Prior to the building's demolition, Diana was removed and put in storage. The intention was for the statue to remain in New York City, however a seven year search to find a place to display it proved futile.  In 1932, the New York Life Insurance Company presented Diana to the Philadelphia Museum of Art as a gift. It remains displayed on the balcony of the museum's Great Stair Hall.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: How does Diana (Saint-Gaudens) explain its Second version (1893–present)?

Diana was completely redesigned by Saint-Gaudens – with a more elegant pose, a different thrust to the body, a thinner figure, smaller breasts and a more graceful angle to the leg.  To better fit the proportions of Madison Square Garden's tower, the statue's height was scaled down to 14.5 feet (4.4 m). The second version was made of hollowed copper, and weighed 700 lb (318 kg) – more than 60% less than the first version – light enough to rotate with the wind. As Saint-Gaudens originally envisioned, the figure was balanced on its left toe atop a ball. The statue was hoisted to the top of the tower on November 18, 1893.During the day, the gilded figure caught the sun and could be seen from all over the city and as far away as New Jersey.  Electric lights, then a novelty, illuminated it at night; it was the first statue in history to be lit by electricity.Madison Square Garden was slated to be demolished in 1925 to make way for construction of the New York Life Building. Prior to the building's demolition, Diana was removed and put in storage. The intention was for the statue to remain in New York City, however a seven year search to find a place to display it proved futile.  In 1932, the New York Life Insurance Company presented Diana to the Philadelphia Museum of Art as a gift. It remains displayed on the balcony of the museum's Great Stair Hall.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: In Diana (Saint-Gaudens), how is the Second version (1893–present) discussed?

Diana was completely redesigned by Saint-Gaudens – with a more elegant pose, a different thrust to the body, a thinner figure, smaller breasts and a more graceful angle to the leg.  To better fit the proportions of Madison Square Garden's tower, the statue's height was scaled down to 14.5 feet (4.4 m). The second version was made of hollowed copper, and weighed 700 lb (318 kg) – more than 60% less than the first version – light enough to rotate with the wind. As Saint-Gaudens originally envisioned, the figure was balanced on its left toe atop a ball. The statue was hoisted to the top of the tower on November 18, 1893.During the day, the gilded figure caught the sun and could be seen from all over the city and as far away as New Jersey.  Electric lights, then a novelty, illuminated it at night; it was the first statue in history to be lit by electricity.Madison Square Garden was slated to be demolished in 1925 to make way for construction of the New York Life Building. Prior to the building's demolition, Diana was removed and put in storage. The intention was for the statue to remain in New York City, however a seven year search to find a place to display it proved futile.  In 1932, the New York Life Insurance Company presented Diana to the Philadelphia Museum of Art as a gift. It remains displayed on the balcony of the museum's Great Stair Hall.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: In the context of Diana (Saint-Gaudens), explain the Restoration and the Second version (1893–present).

When Diana was removed from Madison Square Garden in 1925, much of its gilded exterior was gone, having eroded away over three decades of exposure to the elements. The Philadelphia Museum of Art cleaned and repaired the statue in 1932, but the gold leaf was not replaced.In 2013, scaffolding was constructed around the statue in the museum's Great Stair Hall for a year-long restoration.  Conservators carefully cleaned its copper surface with chemicals and steam, removing nearly a century of dirt and grime.  Samples of the small patches of remaining gold leaf on the statue were taken in an effort to match the carat, weight and color with its replacement.  The statue's surface was then repaired and regilded with 180 square feet of gold leaf.  Because it was known from contemporary sources that Saint-Gaudens did not like the look of bright gold at eye level, the conservators matted the gilding to reduce the glare and museum lighting designers adjusted the display lights for the interior display.On July 14, 2014, the restored statue was unveiled and rededicated.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Explain the Restoration about the Second version (1893–present) of this artwork, Diana (Saint-Gaudens).

When Diana was removed from Madison Square Garden in 1925, much of its gilded exterior was gone, having eroded away over three decades of exposure to the elements. The Philadelphia Museum of Art cleaned and repaired the statue in 1932, but the gold leaf was not replaced.In 2013, scaffolding was constructed around the statue in the museum's Great Stair Hall for a year-long restoration.  Conservators carefully cleaned its copper surface with chemicals and steam, removing nearly a century of dirt and grime.  Samples of the small patches of remaining gold leaf on the statue were taken in an effort to match the carat, weight and color with its replacement.  The statue's surface was then repaired and regilded with 180 square feet of gold leaf.  Because it was known from contemporary sources that Saint-Gaudens did not like the look of bright gold at eye level, the conservators matted the gilding to reduce the glare and museum lighting designers adjusted the display lights for the interior display.On July 14, 2014, the restored statue was unveiled and rededicated.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: In Diana (Saint-Gaudens), how is the Restoration of the Second version (1893–present) explained?

When Diana was removed from Madison Square Garden in 1925, much of its gilded exterior was gone, having eroded away over three decades of exposure to the elements. The Philadelphia Museum of Art cleaned and repaired the statue in 1932, but the gold leaf was not replaced.In 2013, scaffolding was constructed around the statue in the museum's Great Stair Hall for a year-long restoration.  Conservators carefully cleaned its copper surface with chemicals and steam, removing nearly a century of dirt and grime.  Samples of the small patches of remaining gold leaf on the statue were taken in an effort to match the carat, weight and color with its replacement.  The statue's surface was then repaired and regilded with 180 square feet of gold leaf.  Because it was known from contemporary sources that Saint-Gaudens did not like the look of bright gold at eye level, the conservators matted the gilding to reduce the glare and museum lighting designers adjusted the display lights for the interior display.On July 14, 2014, the restored statue was unveiled and rededicated.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Describe the characteristics of the Restoration in Diana (Saint-Gaudens)'s Second version (1893–present).

When Diana was removed from Madison Square Garden in 1925, much of its gilded exterior was gone, having eroded away over three decades of exposure to the elements. The Philadelphia Museum of Art cleaned and repaired the statue in 1932, but the gold leaf was not replaced.In 2013, scaffolding was constructed around the statue in the museum's Great Stair Hall for a year-long restoration.  Conservators carefully cleaned its copper surface with chemicals and steam, removing nearly a century of dirt and grime.  Samples of the small patches of remaining gold leaf on the statue were taken in an effort to match the carat, weight and color with its replacement.  The statue's surface was then repaired and regilded with 180 square feet of gold leaf.  Because it was known from contemporary sources that Saint-Gaudens did not like the look of bright gold at eye level, the conservators matted the gilding to reduce the glare and museum lighting designers adjusted the display lights for the interior display.On July 14, 2014, the restored statue was unveiled and rededicated.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: In the context of Diana (Saint-Gaudens), explain the Cultural references and the Second version (1893–present).

In the popular 1975 novel Ragtime, author E.L. Doctorow suggests in a single line that showgirl Evelyn Nesbitt had posed for the second version of the Diana statue.  Having grown up poor in the streets of a Pennsylvania coal town, Nesbitt had risen up to become “the Gaudens statue Stanny White had put at the top of the tower of Madison Square Garden, a glorious bronze nude Diana, her bow drawn, her face in the skies.”The 1981 film version of Ragtime expanded upon this incident as the cause of a major conflict between Stanford White and Nesbitt's millionaire husband Harry K. Thaw.  In the film, Thaw demands that the statue be taken down from the top of the Garden as it is an embarrassment to him.  The character is seen glaring angrily at the statue before shooting White to death at the Rooftop Theatre at Madison Square Garden on June 25, 1906.Both situations are completely fictional.  The second version of Diana was placed atop the tower in 1893, when Nesbitt was only about nine years old, and eight years before she was introduced to White.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Explain the Cultural references about the Second version (1893–present) of this artwork, Diana (Saint-Gaudens).

In the popular 1975 novel Ragtime, author E.L. Doctorow suggests in a single line that showgirl Evelyn Nesbitt had posed for the second version of the Diana statue.  Having grown up poor in the streets of a Pennsylvania coal town, Nesbitt had risen up to become “the Gaudens statue Stanny White had put at the top of the tower of Madison Square Garden, a glorious bronze nude Diana, her bow drawn, her face in the skies.”The 1981 film version of Ragtime expanded upon this incident as the cause of a major conflict between Stanford White and Nesbitt's millionaire husband Harry K. Thaw.  In the film, Thaw demands that the statue be taken down from the top of the Garden as it is an embarrassment to him.  The character is seen glaring angrily at the statue before shooting White to death at the Rooftop Theatre at Madison Square Garden on June 25, 1906.Both situations are completely fictional.  The second version of Diana was placed atop the tower in 1893, when Nesbitt was only about nine years old, and eight years before she was introduced to White.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: In Diana (Saint-Gaudens), how is the Cultural references of the Second version (1893–present) explained?

In the popular 1975 novel Ragtime, author E.L. Doctorow suggests in a single line that showgirl Evelyn Nesbitt had posed for the second version of the Diana statue.  Having grown up poor in the streets of a Pennsylvania coal town, Nesbitt had risen up to become “the Gaudens statue Stanny White had put at the top of the tower of Madison Square Garden, a glorious bronze nude Diana, her bow drawn, her face in the skies.”The 1981 film version of Ragtime expanded upon this incident as the cause of a major conflict between Stanford White and Nesbitt's millionaire husband Harry K. Thaw.  In the film, Thaw demands that the statue be taken down from the top of the Garden as it is an embarrassment to him.  The character is seen glaring angrily at the statue before shooting White to death at the Rooftop Theatre at Madison Square Garden on June 25, 1906.Both situations are completely fictional.  The second version of Diana was placed atop the tower in 1893, when Nesbitt was only about nine years old, and eight years before she was introduced to White.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Describe the characteristics of the Cultural references in Diana (Saint-Gaudens)'s Second version (1893–present).

In the popular 1975 novel Ragtime, author E.L. Doctorow suggests in a single line that showgirl Evelyn Nesbitt had posed for the second version of the Diana statue.  Having grown up poor in the streets of a Pennsylvania coal town, Nesbitt had risen up to become “the Gaudens statue Stanny White had put at the top of the tower of Madison Square Garden, a glorious bronze nude Diana, her bow drawn, her face in the skies.”The 1981 film version of Ragtime expanded upon this incident as the cause of a major conflict between Stanford White and Nesbitt's millionaire husband Harry K. Thaw.  In the film, Thaw demands that the statue be taken down from the top of the Garden as it is an embarrassment to him.  The character is seen glaring angrily at the statue before shooting White to death at the Rooftop Theatre at Madison Square Garden on June 25, 1906.Both situations are completely fictional.  The second version of Diana was placed atop the tower in 1893, when Nesbitt was only about nine years old, and eight years before she was introduced to White.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

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

Stanford White was so pleased with the 1893 second version that he asked Saint-Gaudens to create a half-sized copy in cement. This was installed in 1894 in the garden of White's Long Island estate, Box Hill, where it stood for many years. For the half-sized copy, Saint-Gaudens poised the figure on a half-ball. White's cement statue later was used to produce two bronze casts in 1928, and six bronze casts in 1987. The cement statue is now in the collection of the Amon Carter Museum of American Art. Saint-Gaudens National Historic Site, plaster. Saint-Gaudens's 1894 model.Amon Carter Museum of American Art, cement. Stanford White's 1894 copy.1928 castsMetropolitan Museum of Art, gilded bronzeBass Hall, Fort Worth, Texas, bronze1987 castsMadison Square Garden, New York City, bronzeBrookgreen Gardens, bronzePrinceton University Art Museum, bronzePrivate collection, Saint-James, New York, bronzePrivate collection, Chicago, Illinois, bronzePrivate collection, Santa Fe, New Mexico, bronze

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Explain the Half-sized statues about the Other versions of this artwork, Diana (Saint-Gaudens).

Stanford White was so pleased with the 1893 second version that he asked Saint-Gaudens to create a half-sized copy in cement. This was installed in 1894 in the garden of White's Long Island estate, Box Hill, where it stood for many years. For the half-sized copy, Saint-Gaudens poised the figure on a half-ball. White's cement statue later was used to produce two bronze casts in 1928, and six bronze casts in 1987. The cement statue is now in the collection of the Amon Carter Museum of American Art. Saint-Gaudens National Historic Site, plaster. Saint-Gaudens's 1894 model.Amon Carter Museum of American Art, cement. Stanford White's 1894 copy.1928 castsMetropolitan Museum of Art, gilded bronzeBass Hall, Fort Worth, Texas, bronze1987 castsMadison Square Garden, New York City, bronzeBrookgreen Gardens, bronzePrinceton University Art Museum, bronzePrivate collection, Saint-James, New York, bronzePrivate collection, Chicago, Illinois, bronzePrivate collection, Santa Fe, New Mexico, bronze

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

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

Stanford White was so pleased with the 1893 second version that he asked Saint-Gaudens to create a half-sized copy in cement. This was installed in 1894 in the garden of White's Long Island estate, Box Hill, where it stood for many years. For the half-sized copy, Saint-Gaudens poised the figure on a half-ball. White's cement statue later was used to produce two bronze casts in 1928, and six bronze casts in 1987. The cement statue is now in the collection of the Amon Carter Museum of American Art. Saint-Gaudens National Historic Site, plaster. Saint-Gaudens's 1894 model.Amon Carter Museum of American Art, cement. Stanford White's 1894 copy.1928 castsMetropolitan Museum of Art, gilded bronzeBass Hall, Fort Worth, Texas, bronze1987 castsMadison Square Garden, New York City, bronzeBrookgreen Gardens, bronzePrinceton University Art Museum, bronzePrivate collection, Saint-James, New York, bronzePrivate collection, Chicago, Illinois, bronzePrivate collection, Santa Fe, New Mexico, bronze

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Describe the characteristics of the Half-sized statues in Diana (Saint-Gaudens)'s Other versions.

Stanford White was so pleased with the 1893 second version that he asked Saint-Gaudens to create a half-sized copy in cement. This was installed in 1894 in the garden of White's Long Island estate, Box Hill, where it stood for many years. For the half-sized copy, Saint-Gaudens poised the figure on a half-ball. White's cement statue later was used to produce two bronze casts in 1928, and six bronze casts in 1987. The cement statue is now in the collection of the Amon Carter Museum of American Art. Saint-Gaudens National Historic Site, plaster. Saint-Gaudens's 1894 model.Amon Carter Museum of American Art, cement. Stanford White's 1894 copy.1928 castsMetropolitan Museum of Art, gilded bronzeBass Hall, Fort Worth, Texas, bronze1987 castsMadison Square Garden, New York City, bronzeBrookgreen Gardens, bronzePrinceton University Art Museum, bronzePrivate collection, Saint-James, New York, bronzePrivate collection, Chicago, Illinois, bronzePrivate collection, Santa Fe, New Mexico, bronze

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

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

The Smithsonian American Art Museum owns a bronze statuette of Saint-Gaudens's first version of Diana.Capitalizing on the popularity of the second version, Saint-Gaudens modeled statuettes in two sizes: 31 inches (78 cm), with the figure poised on a half-ball, and 21 inches (53 cm), with the figure poised on a full ball. These were cast in bronze beginning in 1899, and vary in the configuration of bow, arrow, string, hair, patination, and base.National Gallery of Art, bronzeMetropolitan Museum of Art, bronzeIndianapolis Museum of Art, bronzeCleveland Museum of Art, bronzeWilliams College Museum of Art, bronzeSaint-Gaudens National Historic Site, bronzeNew York Historical Society, bronzeBrooklyn Museum, bronzeVirginia Museum of Fine Arts, bronzeYale University Art Gallery, bronzeother museum and private collections.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

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

The Smithsonian American Art Museum owns a bronze statuette of Saint-Gaudens's first version of Diana.Capitalizing on the popularity of the second version, Saint-Gaudens modeled statuettes in two sizes: 31 inches (78 cm), with the figure poised on a half-ball, and 21 inches (53 cm), with the figure poised on a full ball. These were cast in bronze beginning in 1899, and vary in the configuration of bow, arrow, string, hair, patination, and base.National Gallery of Art, bronzeMetropolitan Museum of Art, bronzeIndianapolis Museum of Art, bronzeCleveland Museum of Art, bronzeWilliams College Museum of Art, bronzeSaint-Gaudens National Historic Site, bronzeNew York Historical Society, bronzeBrooklyn Museum, bronzeVirginia Museum of Fine Arts, bronzeYale University Art Gallery, bronzeother museum and private collections.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

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

The Smithsonian American Art Museum owns a bronze statuette of Saint-Gaudens's first version of Diana.Capitalizing on the popularity of the second version, Saint-Gaudens modeled statuettes in two sizes: 31 inches (78 cm), with the figure poised on a half-ball, and 21 inches (53 cm), with the figure poised on a full ball. These were cast in bronze beginning in 1899, and vary in the configuration of bow, arrow, string, hair, patination, and base.National Gallery of Art, bronzeMetropolitan Museum of Art, bronzeIndianapolis Museum of Art, bronzeCleveland Museum of Art, bronzeWilliams College Museum of Art, bronzeSaint-Gaudens National Historic Site, bronzeNew York Historical Society, bronzeBrooklyn Museum, bronzeVirginia Museum of Fine Arts, bronzeYale University Art Gallery, bronzeother museum and private collections.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

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

The Smithsonian American Art Museum owns a bronze statuette of Saint-Gaudens's first version of Diana.Capitalizing on the popularity of the second version, Saint-Gaudens modeled statuettes in two sizes: 31 inches (78 cm), with the figure poised on a half-ball, and 21 inches (53 cm), with the figure poised on a full ball. These were cast in bronze beginning in 1899, and vary in the configuration of bow, arrow, string, hair, patination, and base.National Gallery of Art, bronzeMetropolitan Museum of Art, bronzeIndianapolis Museum of Art, bronzeCleveland Museum of Art, bronzeWilliams College Museum of Art, bronzeSaint-Gaudens National Historic Site, bronzeNew York Historical Society, bronzeBrooklyn Museum, bronzeVirginia Museum of Fine Arts, bronzeYale University Art Gallery, bronzeother museum and private collections.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

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

In 1908, the sculptor's widow authorized a posthumous casting of nine busts based on Saint-Gaudens's 31-inch (78 cm) statuette. A 7-3/8 in (18.7 cm) plaster bust is at Saint-Gaudens National Historic Site.  Bronze busts are at the Carnegie Museum of Art, and in private collections.Bronze casts of Diana's head are at Saint-Gaudens National Historic Site; Harvard University; and elsewhere.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Explain the Busts and heads about the Other versions of this artwork, Diana (Saint-Gaudens).

In 1908, the sculptor's widow authorized a posthumous casting of nine busts based on Saint-Gaudens's 31-inch (78 cm) statuette. A 7-3/8 in (18.7 cm) plaster bust is at Saint-Gaudens National Historic Site.  Bronze busts are at the Carnegie Museum of Art, and in private collections.Bronze casts of Diana's head are at Saint-Gaudens National Historic Site; Harvard University; and elsewhere.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

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

In 1908, the sculptor's widow authorized a posthumous casting of nine busts based on Saint-Gaudens's 31-inch (78 cm) statuette. A 7-3/8 in (18.7 cm) plaster bust is at Saint-Gaudens National Historic Site.  Bronze busts are at the Carnegie Museum of Art, and in private collections.Bronze casts of Diana's head are at Saint-Gaudens National Historic Site; Harvard University; and elsewhere.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art


Diana (Saint-Gaudens)

Prompt: Describe the characteristics of the Busts and heads in Diana (Saint-Gaudens)'s Other versions.

In 1908, the sculptor's widow authorized a posthumous casting of nine busts based on Saint-Gaudens's 31-inch (78 cm) statuette. A 7-3/8 in (18.7 cm) plaster bust is at Saint-Gaudens National Historic Site.  Bronze busts are at the Carnegie Museum of Art, and in private collections.Bronze casts of Diana's head are at Saint-Gaudens National Historic Site; Harvard University; and elsewhere.

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

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

Category:Sculptures by Augustus Saint-Gaudens

New York Society for the Suppression of Vice

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

Category:Nude sculptures in the United States

File:Saint-Gaudens National Historic Site SAGA2182.jpg

Category:Sculptures in the Philadelphia Museum of Art

Category:Copper sculptures in the United States

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

alt=Diana statue at the Philadelphia Museum of Art