Salem (painting)

Prompt: In Salem (painting), how is the Mass appeal discussed?

Vosper exhibited Salem in 1909 at the Royal Academy in London, where it came to the attention of the industrialist William Hesketh Lever. Lever bought the painting for £105 and the original can be seen today in the art gallery he established at Port Sunlight. The painting may have remained obscure in his private collection had Lever not decided to use the painting in a promotion of the Lever Brothers' popular product Sunlight soap.The soap bars came with collectable tokens, and buying seven pounds of soap would acquire enough tokens to exchange for a print of the painting (an early example of marketing premiums). This promotion resulted in Salem appearing in many homes across Britain. At that time many homes owned no form of visual art and the innovative 'free gift' offer ensured that prints of Salem became widely, and uniquely popular amongst working-class communities, especially in Wales.By 1933 the painting was famous enough to be the subject of a notable article in the Welsh-language magazine Y Ford Gron ('The Round Table') and in 1937, Salem gained yet more popularity when Sir Ifan ab Owen Edwards sold thousands of prints to supporters of Urdd Gobaith Cymru for 6d. By 1942 it was described by Yr Aelwyd ('The Hearth') as "One of the most beautiful pictures of the religious life of Wales in old times", and in 1950, 1956 and 1957 many more Welsh households obtained copies when the picture was used in the Cymru Fydd calendar. By the 1960s, the painting was famous throughout Wales and was ubiquitous in many Welsh communities.Today a framed print of Salem hanging on the wall is a feature of many Welsh museums and historical buildings. In 2013, the painting featured in the first episode of the Welsh drama series Hinterland.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Focus on Salem (painting) and explain the Hidden figures and interpretations.

As reproductions became popular, so did the notion that the composition contained a hidden figure. Discussions of the painting's intended meaning often used this notion to support their interpretations.Aside from pious interpretations, there was much speculation that the painting had a more disapproving meaning. Some suggested that the painting was a comment on the sin of vanity. The chapel clock suggests that Siân Owen is arriving belatedly at a few minutes before ten (during the traditional Welsh silence before the morning service), possibly to ensure that her presence is noted, and appears to be wearing comparatively ostentatious clothing. The interpretation was often synonymous with a popular belief that Vosper had hidden an image of the devil in the folds of Siân Owen's shawl. The postulated image can be seen in the section of shawl around her left arm. The paisley pattern forms a horn, the folds his eye and nose and the shawl's trim his beard.When questioned on this, Vosper always denied any such detail had been intentionally painted into the shawl. The enigmatic painter did confirm, however, an intended ghostly face painted into the verdant window scene. The partial knowledge of a hidden face somewhere within the painting is a likely starting point for the popular theory of a devil within the shawl.The painting's varying interpretations (especially as an admonishing lesson on pride) are now considered a valuable example of how the Welsh viewed themselves, and their rural nonconformist past, in the twentieth century. The devil in the shawl is now most commonly considered an example of pareidolia.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Explain the Hidden figures and interpretations of this artwork, Salem (painting).

As reproductions became popular, so did the notion that the composition contained a hidden figure. Discussions of the painting's intended meaning often used this notion to support their interpretations.Aside from pious interpretations, there was much speculation that the painting had a more disapproving meaning. Some suggested that the painting was a comment on the sin of vanity. The chapel clock suggests that Siân Owen is arriving belatedly at a few minutes before ten (during the traditional Welsh silence before the morning service), possibly to ensure that her presence is noted, and appears to be wearing comparatively ostentatious clothing. The interpretation was often synonymous with a popular belief that Vosper had hidden an image of the devil in the folds of Siân Owen's shawl. The postulated image can be seen in the section of shawl around her left arm. The paisley pattern forms a horn, the folds his eye and nose and the shawl's trim his beard.When questioned on this, Vosper always denied any such detail had been intentionally painted into the shawl. The enigmatic painter did confirm, however, an intended ghostly face painted into the verdant window scene. The partial knowledge of a hidden face somewhere within the painting is a likely starting point for the popular theory of a devil within the shawl.The painting's varying interpretations (especially as an admonishing lesson on pride) are now considered a valuable example of how the Welsh viewed themselves, and their rural nonconformist past, in the twentieth century. The devil in the shawl is now most commonly considered an example of pareidolia.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: How does Salem (painting) explain its Hidden figures and interpretations?

As reproductions became popular, so did the notion that the composition contained a hidden figure. Discussions of the painting's intended meaning often used this notion to support their interpretations.Aside from pious interpretations, there was much speculation that the painting had a more disapproving meaning. Some suggested that the painting was a comment on the sin of vanity. The chapel clock suggests that Siân Owen is arriving belatedly at a few minutes before ten (during the traditional Welsh silence before the morning service), possibly to ensure that her presence is noted, and appears to be wearing comparatively ostentatious clothing. The interpretation was often synonymous with a popular belief that Vosper had hidden an image of the devil in the folds of Siân Owen's shawl. The postulated image can be seen in the section of shawl around her left arm. The paisley pattern forms a horn, the folds his eye and nose and the shawl's trim his beard.When questioned on this, Vosper always denied any such detail had been intentionally painted into the shawl. The enigmatic painter did confirm, however, an intended ghostly face painted into the verdant window scene. The partial knowledge of a hidden face somewhere within the painting is a likely starting point for the popular theory of a devil within the shawl.The painting's varying interpretations (especially as an admonishing lesson on pride) are now considered a valuable example of how the Welsh viewed themselves, and their rural nonconformist past, in the twentieth century. The devil in the shawl is now most commonly considered an example of pareidolia.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: In Salem (painting), how is the Hidden figures and interpretations discussed?

As reproductions became popular, so did the notion that the composition contained a hidden figure. Discussions of the painting's intended meaning often used this notion to support their interpretations.Aside from pious interpretations, there was much speculation that the painting had a more disapproving meaning. Some suggested that the painting was a comment on the sin of vanity. The chapel clock suggests that Siân Owen is arriving belatedly at a few minutes before ten (during the traditional Welsh silence before the morning service), possibly to ensure that her presence is noted, and appears to be wearing comparatively ostentatious clothing. The interpretation was often synonymous with a popular belief that Vosper had hidden an image of the devil in the folds of Siân Owen's shawl. The postulated image can be seen in the section of shawl around her left arm. The paisley pattern forms a horn, the folds his eye and nose and the shawl's trim his beard.When questioned on this, Vosper always denied any such detail had been intentionally painted into the shawl. The enigmatic painter did confirm, however, an intended ghostly face painted into the verdant window scene. The partial knowledge of a hidden face somewhere within the painting is a likely starting point for the popular theory of a devil within the shawl.The painting's varying interpretations (especially as an admonishing lesson on pride) are now considered a valuable example of how the Welsh viewed themselves, and their rural nonconformist past, in the twentieth century. The devil in the shawl is now most commonly considered an example of pareidolia.

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Focus on Salem (painting) and explain the Exhibition.

The painting is on display at the Lady Lever Art Gallery at Port Sunlight, though there have been several attempts to permanently house it within Wales, most notably by a campaign in 2005 headed by Plaid Cymru's culture spokesman Owen John Thomas. In 2013 it formed the centrepiece of a temporary exhibition at the Gwynedd Museum and Art Gallery in Bangor.Many Welsh museums and galleries hold and exhibit paintings by Vosper from the same period. Most notably, National Museum Cardiff houses Market Day in Old Wales (1908), a later painting featuring Siân Owen. Often considered a sister work, the painting was gifted to the museum by Constance Vosper's brother, Frank Treharne James, in 1914. Speaking in 2005 on the possibility of acquiring Salem, the Museum's director said that "It was commissioned by the Lever family therefore belongs in the gallery they created, now belonging to the National Museums Liverpool".

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Explain the Exhibition of this artwork, Salem (painting).

The painting is on display at the Lady Lever Art Gallery at Port Sunlight, though there have been several attempts to permanently house it within Wales, most notably by a campaign in 2005 headed by Plaid Cymru's culture spokesman Owen John Thomas. In 2013 it formed the centrepiece of a temporary exhibition at the Gwynedd Museum and Art Gallery in Bangor.Many Welsh museums and galleries hold and exhibit paintings by Vosper from the same period. Most notably, National Museum Cardiff houses Market Day in Old Wales (1908), a later painting featuring Siân Owen. Often considered a sister work, the painting was gifted to the museum by Constance Vosper's brother, Frank Treharne James, in 1914. Speaking in 2005 on the possibility of acquiring Salem, the Museum's director said that "It was commissioned by the Lever family therefore belongs in the gallery they created, now belonging to the National Museums Liverpool".

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: How does Salem (painting) explain its Exhibition?

The painting is on display at the Lady Lever Art Gallery at Port Sunlight, though there have been several attempts to permanently house it within Wales, most notably by a campaign in 2005 headed by Plaid Cymru's culture spokesman Owen John Thomas. In 2013 it formed the centrepiece of a temporary exhibition at the Gwynedd Museum and Art Gallery in Bangor.Many Welsh museums and galleries hold and exhibit paintings by Vosper from the same period. Most notably, National Museum Cardiff houses Market Day in Old Wales (1908), a later painting featuring Siân Owen. Often considered a sister work, the painting was gifted to the museum by Constance Vosper's brother, Frank Treharne James, in 1914. Speaking in 2005 on the possibility of acquiring Salem, the Museum's director said that "It was commissioned by the Lever family therefore belongs in the gallery they created, now belonging to the National Museums Liverpool".

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: In Salem (painting), how is the Exhibition discussed?

The painting is on display at the Lady Lever Art Gallery at Port Sunlight, though there have been several attempts to permanently house it within Wales, most notably by a campaign in 2005 headed by Plaid Cymru's culture spokesman Owen John Thomas. In 2013 it formed the centrepiece of a temporary exhibition at the Gwynedd Museum and Art Gallery in Bangor.Many Welsh museums and galleries hold and exhibit paintings by Vosper from the same period. Most notably, National Museum Cardiff houses Market Day in Old Wales (1908), a later painting featuring Siân Owen. Often considered a sister work, the painting was gifted to the museum by Constance Vosper's brother, Frank Treharne James, in 1914. Speaking in 2005 on the possibility of acquiring Salem, the Museum's director said that "It was commissioned by the Lever family therefore belongs in the gallery they created, now belonging to the National Museums Liverpool".

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Focus on Salem (painting) and explain the James Version.

Hel Straeon a 1988 S4C arts programme revealed the existence of a slightly different version of Salem, owned by a descendant of Frank Treharne James. Vosper produced this second slightly different version in 1909, a year after painting the first version. Peter Lord, an authority on Welsh painting, verified this second work as a Vosper composition. This painting was at one point on display at Cyfarthfa Castle in Merthyr Tydfil, along with many other Vosper works bequeathed to the town upon the death of his second son.On 10 October 2019, the National Library of Wales (Llyfrgell Genedlaethol Cymru) announced that it had purchased the James version of the Salem painting on behalf of the nation, "to protect and cherish it forever".

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: Explain the James Version of this artwork, Salem (painting).

Hel Straeon a 1988 S4C arts programme revealed the existence of a slightly different version of Salem, owned by a descendant of Frank Treharne James. Vosper produced this second slightly different version in 1909, a year after painting the first version. Peter Lord, an authority on Welsh painting, verified this second work as a Vosper composition. This painting was at one point on display at Cyfarthfa Castle in Merthyr Tydfil, along with many other Vosper works bequeathed to the town upon the death of his second son.On 10 October 2019, the National Library of Wales (Llyfrgell Genedlaethol Cymru) announced that it had purchased the James version of the Salem painting on behalf of the nation, "to protect and cherish it forever".

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: How does Salem (painting) explain its James Version?

Hel Straeon a 1988 S4C arts programme revealed the existence of a slightly different version of Salem, owned by a descendant of Frank Treharne James. Vosper produced this second slightly different version in 1909, a year after painting the first version. Peter Lord, an authority on Welsh painting, verified this second work as a Vosper composition. This painting was at one point on display at Cyfarthfa Castle in Merthyr Tydfil, along with many other Vosper works bequeathed to the town upon the death of his second son.On 10 October 2019, the National Library of Wales (Llyfrgell Genedlaethol Cymru) announced that it had purchased the James version of the Salem painting on behalf of the nation, "to protect and cherish it forever".

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Salem (painting)

Prompt: In Salem (painting), how is the James Version discussed?

Hel Straeon a 1988 S4C arts programme revealed the existence of a slightly different version of Salem, owned by a descendant of Frank Treharne James. Vosper produced this second slightly different version in 1909, a year after painting the first version. Peter Lord, an authority on Welsh painting, verified this second work as a Vosper composition. This painting was at one point on display at Cyfarthfa Castle in Merthyr Tydfil, along with many other Vosper works bequeathed to the town upon the death of his second son.On 10 October 2019, the National Library of Wales (Llyfrgell Genedlaethol Cymru) announced that it had purchased the James version of the Salem painting on behalf of the nation, "to protect and cherish it forever".

Category:Collection of the Lady Lever Art Gallery

''Market Day in Old Wales'' (1910), a later painting by Vosper also featuring Siân Owen

Category:Paintings in the National Library of Wales

File:Lady Lever Art Gallery, Port Sunlight - IMG 0915.JPG

The Lady Lever Art Gallery in Port Sunlight


Ognissanti Madonna

Prompt: Focus on Ognissanti Madonna and explain the abstract.

Madonna Enthroned, also known as the Ognissanti Madonna or Madonna Ognissanti, is a painting in tempera on wood panel by the Italian late medieval artist Giotto di Bondone, now in the Uffizi Gallery of Florence, Italy.The painting has the traditional Christian subject, of the Madonna and Child, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin, enthroned and surrounded by a court-like company, is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of Italian Renaissance painting due to its newfound naturalism and escape from the constraints of Italo-Byzantine and Gothic art.It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto.  There are many sources that show he spent many years living and creating in Florence. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti's autobiography, I Commentarii (1447).  An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city.  It was originally painted for the Ognissanti church in Florence.  Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it.  Specifically, Giotto's Madonna Enthroned was designed for the high altar.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png

Lives of the Most Excellent Painters, Sculptors, and Architects


Ognissanti Madonna

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

Madonna Enthroned, also known as the Ognissanti Madonna or Madonna Ognissanti, is a painting in tempera on wood panel by the Italian late medieval artist Giotto di Bondone, now in the Uffizi Gallery of Florence, Italy.The painting has the traditional Christian subject, of the Madonna and Child, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin, enthroned and surrounded by a court-like company, is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of Italian Renaissance painting due to its newfound naturalism and escape from the constraints of Italo-Byzantine and Gothic art.It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto.  There are many sources that show he spent many years living and creating in Florence. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti's autobiography, I Commentarii (1447).  An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city.  It was originally painted for the Ognissanti church in Florence.  Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it.  Specifically, Giotto's Madonna Enthroned was designed for the high altar.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png

Lives of the Most Excellent Painters, Sculptors, and Architects


Ognissanti Madonna

Prompt: How does Ognissanti Madonna explain its abstract?

Madonna Enthroned, also known as the Ognissanti Madonna or Madonna Ognissanti, is a painting in tempera on wood panel by the Italian late medieval artist Giotto di Bondone, now in the Uffizi Gallery of Florence, Italy.The painting has the traditional Christian subject, of the Madonna and Child, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin, enthroned and surrounded by a court-like company, is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of Italian Renaissance painting due to its newfound naturalism and escape from the constraints of Italo-Byzantine and Gothic art.It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto.  There are many sources that show he spent many years living and creating in Florence. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti's autobiography, I Commentarii (1447).  An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city.  It was originally painted for the Ognissanti church in Florence.  Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it.  Specifically, Giotto's Madonna Enthroned was designed for the high altar.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png

Lives of the Most Excellent Painters, Sculptors, and Architects


Ognissanti Madonna

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

Madonna Enthroned, also known as the Ognissanti Madonna or Madonna Ognissanti, is a painting in tempera on wood panel by the Italian late medieval artist Giotto di Bondone, now in the Uffizi Gallery of Florence, Italy.The painting has the traditional Christian subject, of the Madonna and Child, representing the Virgin Mary and the Christ Child seated on her lap, with saints and angels surrounding them on all sides. This particular representation of the Virgin, enthroned and surrounded by a court-like company, is called a Maestà, a popular representation at the time. It is often celebrated as the first painting of Italian Renaissance painting due to its newfound naturalism and escape from the constraints of Italo-Byzantine and Gothic art.It is generally dated to around 1310. While historians have had trouble finding specific information for indisputably attributing many of Giotto's works to the artist, Madonna Enthroned is one piece for which there are a few documents supporting its creation by Giotto.  There are many sources that show he spent many years living and creating in Florence. However, the main source that documents Madonna Enthroned specifically is artist Lorenzo Ghiberti's autobiography, I Commentarii (1447).  An earlier manuscript document of 1418 also attributes the painting to Giotto, but it is Ghiberti's autobiography that provides the most solid evidence.One of Giotto's later works, Madonna Enthroned was completed in Florence, upon the artist's return to the city.  It was originally painted for the Ognissanti church in Florence.  Built for the Humiliati, a small religious order at the time, the church had many acclaimed paintings designed for it.  Specifically, Giotto's Madonna Enthroned was designed for the high altar.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png

Lives of the Most Excellent Painters, Sculptors, and Architects


Ognissanti Madonna

Prompt: Focus on Ognissanti Madonna and explain the Influences.

The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flat gold ground, Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period.  The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures.Giotto's figures, however, escape the bounds of Byzantine art.  His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture.  The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration.  This method of decoration, based on a style called Cosmatesque or Cosmati, was popular in Rome since the Early Christian period and in Tuscany in the Late Middle Ages.There were, additionally, a number of specific artists whose styles heavily influenced the Ognissanti Madonna. The influence of Cimabue, traditionally recognized as Giotto's teacher (based on Giorgio Vasari's 16th century Lives of the Most Excellent Painters, Sculptors, and Architects), is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject of symmetry in his Santa Trinita Maestà (c. 1290, also Uffizi), also a Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes.  Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.The tranquility of Giotto's figures resembled also the style of Pietro Cavallini.  From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.Lastly, Giotto took cues from many contemporary sculptors, including Nicola and Giovanni Pisano, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png


Ognissanti Madonna

Prompt: Explain the Influences of this artwork, Ognissanti Madonna.

The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flat gold ground, Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period.  The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures.Giotto's figures, however, escape the bounds of Byzantine art.  His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture.  The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration.  This method of decoration, based on a style called Cosmatesque or Cosmati, was popular in Rome since the Early Christian period and in Tuscany in the Late Middle Ages.There were, additionally, a number of specific artists whose styles heavily influenced the Ognissanti Madonna. The influence of Cimabue, traditionally recognized as Giotto's teacher (based on Giorgio Vasari's 16th century Lives of the Most Excellent Painters, Sculptors, and Architects), is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject of symmetry in his Santa Trinita Maestà (c. 1290, also Uffizi), also a Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes.  Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.The tranquility of Giotto's figures resembled also the style of Pietro Cavallini.  From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.Lastly, Giotto took cues from many contemporary sculptors, including Nicola and Giovanni Pisano, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png


Ognissanti Madonna

Prompt: How does Ognissanti Madonna explain its Influences?

The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flat gold ground, Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period.  The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures.Giotto's figures, however, escape the bounds of Byzantine art.  His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture.  The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration.  This method of decoration, based on a style called Cosmatesque or Cosmati, was popular in Rome since the Early Christian period and in Tuscany in the Late Middle Ages.There were, additionally, a number of specific artists whose styles heavily influenced the Ognissanti Madonna. The influence of Cimabue, traditionally recognized as Giotto's teacher (based on Giorgio Vasari's 16th century Lives of the Most Excellent Painters, Sculptors, and Architects), is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject of symmetry in his Santa Trinita Maestà (c. 1290, also Uffizi), also a Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes.  Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.The tranquility of Giotto's figures resembled also the style of Pietro Cavallini.  From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.Lastly, Giotto took cues from many contemporary sculptors, including Nicola and Giovanni Pisano, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png


Ognissanti Madonna

Prompt: In Ognissanti Madonna, how is the Influences discussed?

The 'Madonna Enthroned' shows the numerous styles of art that influenced Giotto. In both the gold coloring used throughout the artwork and the flat gold ground, Giotto's art continued the traditional Italo-Byzantine style usual in the proto-Renaissance period.  The altarpiece represents a formalized representation of an icon, still retaining the stiffness of Byzantine art, and Giotto retained the hierarchy of scale, making the centralized Madonna and the Christ Child much larger in size than the surrounding saints and religious figures.Giotto's figures, however, escape the bounds of Byzantine art.  His figures are weighty and are reminiscent of three-dimensional sculptures, such as those in classical Roman sculpture.  The Madonna's intricately decorated throne, which itself is an Italian Gothic design, has a very specific use of colored marble as a surface decoration.  This method of decoration, based on a style called Cosmatesque or Cosmati, was popular in Rome since the Early Christian period and in Tuscany in the Late Middle Ages.There were, additionally, a number of specific artists whose styles heavily influenced the Ognissanti Madonna. The influence of Cimabue, traditionally recognized as Giotto's teacher (based on Giorgio Vasari's 16th century Lives of the Most Excellent Painters, Sculptors, and Architects), is shown first in the very symmetrical composition of the piece. Cimabue portrayed the same subject of symmetry in his Santa Trinita Maestà (c. 1290, also Uffizi), also a Virgin and Child Enthroned, and both pieces share aspects of the Italo-Byzantine style, with Cimabue's having more Byzantine attributes.  Additionally, the two depictions of the angels' wings in Giotto and Cimabue's pieces clearly resemble each other. Both pieces share a similar, initial feeling of severity, yet there is more to each piece than the drama. Giotto adopted from his teacher the importance of, and the concern for, volume and forms in space.The tranquility of Giotto's figures resembled also the style of Pietro Cavallini.  From this artist, who painted neo-Byzantine pieces, taking cues from both mosaics and frescos from Roman and Early Christian times, Giotto took important lessons in the technique of painting, and in rendering figures as statuesque and calm.Lastly, Giotto took cues from many contemporary sculptors, including Nicola and Giovanni Pisano, whose work shares influences of Northern Gothic art. In the work of these artists, Giotto saw great, dramatic compositions that would certainly influence his Ognissanti Madonna.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png


Ognissanti Madonna

Prompt: Focus on Ognissanti Madonna and explain the Technique.

Giotto was one of the first artists to capitalize on the potentialities of the practice of convincing three-dimensional space in paintings and reliefs. Giotto’s utilization of figure and frame enhances the illusion of special continuity beyond the confines of the artificial frame; This has been consistently evident across his extensive series of frescoes he created after 1305 in the Arena Chapel of Padua. The relation he's created between the painted frames to the painted figures gives an invitation for analysis.Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting.  Within Cimabue's Santa Trinita Maestà, there is the use of gold tracing to delineate the folds of the fabric.  In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.  Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.Giotto used a value scale, a distinct range of light and dark, to create a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. Unlike in other paintings by Giotto, the light source in Ognissanti Madonna is located on the right side of the piece as opposed to the left. The meaning behind this is not known for sure, although a few logical reasons for this could be the Ognissanti Madonna's placement within the church or Giotto's use of exaggeration with lighting.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png

Lives of the Most Excellent Painters, Sculptors, and Architects


Ognissanti Madonna

Prompt: Explain the Technique of this artwork, Ognissanti Madonna.

Giotto was one of the first artists to capitalize on the potentialities of the practice of convincing three-dimensional space in paintings and reliefs. Giotto’s utilization of figure and frame enhances the illusion of special continuity beyond the confines of the artificial frame; This has been consistently evident across his extensive series of frescoes he created after 1305 in the Arena Chapel of Padua. The relation he's created between the painted frames to the painted figures gives an invitation for analysis.Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting.  Within Cimabue's Santa Trinita Maestà, there is the use of gold tracing to delineate the folds of the fabric.  In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.  Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.Giotto used a value scale, a distinct range of light and dark, to create a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. Unlike in other paintings by Giotto, the light source in Ognissanti Madonna is located on the right side of the piece as opposed to the left. The meaning behind this is not known for sure, although a few logical reasons for this could be the Ognissanti Madonna's placement within the church or Giotto's use of exaggeration with lighting.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png

Lives of the Most Excellent Painters, Sculptors, and Architects


Ognissanti Madonna

Prompt: How does Ognissanti Madonna explain its Technique?

Giotto was one of the first artists to capitalize on the potentialities of the practice of convincing three-dimensional space in paintings and reliefs. Giotto’s utilization of figure and frame enhances the illusion of special continuity beyond the confines of the artificial frame; This has been consistently evident across his extensive series of frescoes he created after 1305 in the Arena Chapel of Padua. The relation he's created between the painted frames to the painted figures gives an invitation for analysis.Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting.  Within Cimabue's Santa Trinita Maestà, there is the use of gold tracing to delineate the folds of the fabric.  In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.  Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.Giotto used a value scale, a distinct range of light and dark, to create a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. Unlike in other paintings by Giotto, the light source in Ognissanti Madonna is located on the right side of the piece as opposed to the left. The meaning behind this is not known for sure, although a few logical reasons for this could be the Ognissanti Madonna's placement within the church or Giotto's use of exaggeration with lighting.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png

Lives of the Most Excellent Painters, Sculptors, and Architects


Ognissanti Madonna

Prompt: In Ognissanti Madonna, how is the Technique discussed?

Giotto was one of the first artists to capitalize on the potentialities of the practice of convincing three-dimensional space in paintings and reliefs. Giotto’s utilization of figure and frame enhances the illusion of special continuity beyond the confines of the artificial frame; This has been consistently evident across his extensive series of frescoes he created after 1305 in the Arena Chapel of Padua. The relation he's created between the painted frames to the painted figures gives an invitation for analysis.Additionally, he used a much smaller space than other contemporary artists, further emphasizing the importance of the bodies in the artwork. Giotto did away with many aspects of Byzantine art that would flatten the painting.  Within Cimabue's Santa Trinita Maestà, there is the use of gold tracing to delineate the folds of the fabric.  In contrast to this, Giotto's fabric folds are more realistic, and instead of lines he used light, shadow, and color to create the appearance of fabric.  Contours of the body underneath these fabric folds are also visible, specifically in the Virgin's knees and also around her breasts.Giotto used a value scale, a distinct range of light and dark, to create a sense of volume in his figures, giving them the slight smokiness that is usually characteristic of Leonardo da Vinci and later Renaissance artists. Unlike in other paintings by Giotto, the light source in Ognissanti Madonna is located on the right side of the piece as opposed to the left. The meaning behind this is not known for sure, although a few logical reasons for this could be the Ognissanti Madonna's placement within the church or Giotto's use of exaggeration with lighting.

Category:Paintings of the Madonna and Child

File:Giotto di Bondone Madonna Enthroned detail.png

Lives of the Most Excellent Painters, Sculptors, and Architects


Rachel (Gerber)

Prompt: Focus on Rachel (Gerber) and explain the abstract.

Rachel, also known as Market Foundation Piggy Bank, Rachael the Pig, Rachel the Pig or Rachel the Piggy Bank, is an outdoor bronze sculpture of a piggy bank, designed by Georgia Gerber and located at Pike Place Market in Seattle, Washington, in the United States. It was dedicated on August 17, 1986, the market's 79th birthday, and is maintained by the Pike Place Market Foundation. Modeled after a pig (also named Rachel) that lived on Whidbey Island and was the 1985 Island County prize-winner. In 2006 Rachel received roughly $9,000 annually while in 2018, donations increased to $20,000. The money is collected by the Market Foundation to fund the Market's social services.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

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

Rachel, also known as Market Foundation Piggy Bank, Rachael the Pig, Rachel the Pig or Rachel the Piggy Bank, is an outdoor bronze sculpture of a piggy bank, designed by Georgia Gerber and located at Pike Place Market in Seattle, Washington, in the United States. It was dedicated on August 17, 1986, the market's 79th birthday, and is maintained by the Pike Place Market Foundation. Modeled after a pig (also named Rachel) that lived on Whidbey Island and was the 1985 Island County prize-winner. In 2006 Rachel received roughly $9,000 annually while in 2018, donations increased to $20,000. The money is collected by the Market Foundation to fund the Market's social services.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: How does Rachel (Gerber) explain its abstract?

Rachel, also known as Market Foundation Piggy Bank, Rachael the Pig, Rachel the Pig or Rachel the Piggy Bank, is an outdoor bronze sculpture of a piggy bank, designed by Georgia Gerber and located at Pike Place Market in Seattle, Washington, in the United States. It was dedicated on August 17, 1986, the market's 79th birthday, and is maintained by the Pike Place Market Foundation. Modeled after a pig (also named Rachel) that lived on Whidbey Island and was the 1985 Island County prize-winner. In 2006 Rachel received roughly $9,000 annually while in 2018, donations increased to $20,000. The money is collected by the Market Foundation to fund the Market's social services.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: In Rachel (Gerber), how is the abstract discussed?

Rachel, also known as Market Foundation Piggy Bank, Rachael the Pig, Rachel the Pig or Rachel the Piggy Bank, is an outdoor bronze sculpture of a piggy bank, designed by Georgia Gerber and located at Pike Place Market in Seattle, Washington, in the United States. It was dedicated on August 17, 1986, the market's 79th birthday, and is maintained by the Pike Place Market Foundation. Modeled after a pig (also named Rachel) that lived on Whidbey Island and was the 1985 Island County prize-winner. In 2006 Rachel received roughly $9,000 annually while in 2018, donations increased to $20,000. The money is collected by the Market Foundation to fund the Market's social services.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: Focus on Rachel (Gerber) and explain the Description.

The Smithsonian Institution describes Rachel as a "life-size, realistic figure" of a sow piggy bank. The Pike Place Market Foundation calls it the "mascot" of Pike Place Market. The bronze sculpture depicts a pig with a money slot on the top of its head and measures approximately 36 by 66 by 16 inches (91 cm × 168 cm × 41 cm) and weighs 550 pounds (250 kg).Bronze footprints are on the sidewalk leading to the pig figure. One nearby plaque reads: "Market Foundation Piggy Bank. Made possible by a gift from Fratelli's Ice Cream, August 17, 1986". Another states that money deposited into the piggy bank benefits local human service organizations.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: Explain the Description of this artwork, Rachel (Gerber).

The Smithsonian Institution describes Rachel as a "life-size, realistic figure" of a sow piggy bank. The Pike Place Market Foundation calls it the "mascot" of Pike Place Market. The bronze sculpture depicts a pig with a money slot on the top of its head and measures approximately 36 by 66 by 16 inches (91 cm × 168 cm × 41 cm) and weighs 550 pounds (250 kg).Bronze footprints are on the sidewalk leading to the pig figure. One nearby plaque reads: "Market Foundation Piggy Bank. Made possible by a gift from Fratelli's Ice Cream, August 17, 1986". Another states that money deposited into the piggy bank benefits local human service organizations.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: How does Rachel (Gerber) explain its Description?

The Smithsonian Institution describes Rachel as a "life-size, realistic figure" of a sow piggy bank. The Pike Place Market Foundation calls it the "mascot" of Pike Place Market. The bronze sculpture depicts a pig with a money slot on the top of its head and measures approximately 36 by 66 by 16 inches (91 cm × 168 cm × 41 cm) and weighs 550 pounds (250 kg).Bronze footprints are on the sidewalk leading to the pig figure. One nearby plaque reads: "Market Foundation Piggy Bank. Made possible by a gift from Fratelli's Ice Cream, August 17, 1986". Another states that money deposited into the piggy bank benefits local human service organizations.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: In Rachel (Gerber), how is the Description discussed?

The Smithsonian Institution describes Rachel as a "life-size, realistic figure" of a sow piggy bank. The Pike Place Market Foundation calls it the "mascot" of Pike Place Market. The bronze sculpture depicts a pig with a money slot on the top of its head and measures approximately 36 by 66 by 16 inches (91 cm × 168 cm × 41 cm) and weighs 550 pounds (250 kg).Bronze footprints are on the sidewalk leading to the pig figure. One nearby plaque reads: "Market Foundation Piggy Bank. Made possible by a gift from Fratelli's Ice Cream, August 17, 1986". Another states that money deposited into the piggy bank benefits local human service organizations.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: Focus on Rachel (Gerber) and explain the History.

The sculpture was surveyed by the Smithsonian's Save Outdoor Sculpture! program in April 1995 and was deemed "well maintained".On February 5, 2011, Rachel was struck by a taxicab and was knocked off its concrete base. The sculpture suffered cosmetic damage, including a 10 inches (25 cm) crack along the left ear and a dent on its left side, and was repaired at Gerber's studio on Whidbey Island. Rachel returned to the Pike Place Market on March 18, 2011, after a tour of Seattle landmarks in a vintage farm truck.Rachel was joined by a "cousin" named Billie, installed in July 2011 at the Western Avenue entrance to the market.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: Explain the History of this artwork, Rachel (Gerber).

The sculpture was surveyed by the Smithsonian's Save Outdoor Sculpture! program in April 1995 and was deemed "well maintained".On February 5, 2011, Rachel was struck by a taxicab and was knocked off its concrete base. The sculpture suffered cosmetic damage, including a 10 inches (25 cm) crack along the left ear and a dent on its left side, and was repaired at Gerber's studio on Whidbey Island. Rachel returned to the Pike Place Market on March 18, 2011, after a tour of Seattle landmarks in a vintage farm truck.Rachel was joined by a "cousin" named Billie, installed in July 2011 at the Western Avenue entrance to the market.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: How does Rachel (Gerber) explain its History?

The sculpture was surveyed by the Smithsonian's Save Outdoor Sculpture! program in April 1995 and was deemed "well maintained".On February 5, 2011, Rachel was struck by a taxicab and was knocked off its concrete base. The sculpture suffered cosmetic damage, including a 10 inches (25 cm) crack along the left ear and a dent on its left side, and was repaired at Gerber's studio on Whidbey Island. Rachel returned to the Pike Place Market on March 18, 2011, after a tour of Seattle landmarks in a vintage farm truck.Rachel was joined by a "cousin" named Billie, installed in July 2011 at the Western Avenue entrance to the market.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Rachel (Gerber)

Prompt: In Rachel (Gerber), how is the History discussed?

The sculpture was surveyed by the Smithsonian's Save Outdoor Sculpture! program in April 1995 and was deemed "well maintained".On February 5, 2011, Rachel was struck by a taxicab and was knocked off its concrete base. The sculpture suffered cosmetic damage, including a 10 inches (25 cm) crack along the left ear and a dent on its left side, and was repaired at Gerber's studio on Whidbey Island. Rachel returned to the Pike Place Market on March 18, 2011, after a tour of Seattle landmarks in a vintage farm truck.Rachel was joined by a "cousin" named Billie, installed in July 2011 at the Western Avenue entrance to the market.

Category:Bronze sculptures in Washington (state)

Category:Animal sculptures in Washington (state)

Category:Outdoor sculptures in Downtown Seattle

Category:1986 establishments in Washington (state)


Portrait of Cornelis van der Geest

Prompt: Focus on Portrait of Cornelis van der Geest and explain the abstract.

The Portrait of Cornelis van der Geest is a panel painting by Anthony van Dyck from about 1620. The original panel and painting were expanded by other artists. X-rays of the painting revealed the additions. Between 1620 and 1796, the provenance of the painting was not documented. The painting was also cleaned and skinned.In 1796 the painting was thought to be an image of Flemish diplomat Gaspar Gevartius. In 1864, the painting was purchased by the National Gallery in London as a work attributed to Flemish artist Peter Paul Rubens. The National Gallery later determined that it was a painting of Cornelis van der Geest by van Dyck.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Explain the abstract of this artwork, Portrait of Cornelis van der Geest.

The Portrait of Cornelis van der Geest is a panel painting by Anthony van Dyck from about 1620. The original panel and painting were expanded by other artists. X-rays of the painting revealed the additions. Between 1620 and 1796, the provenance of the painting was not documented. The painting was also cleaned and skinned.In 1796 the painting was thought to be an image of Flemish diplomat Gaspar Gevartius. In 1864, the painting was purchased by the National Gallery in London as a work attributed to Flemish artist Peter Paul Rubens. The National Gallery later determined that it was a painting of Cornelis van der Geest by van Dyck.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: How does Portrait of Cornelis van der Geest explain its abstract?

The Portrait of Cornelis van der Geest is a panel painting by Anthony van Dyck from about 1620. The original panel and painting were expanded by other artists. X-rays of the painting revealed the additions. Between 1620 and 1796, the provenance of the painting was not documented. The painting was also cleaned and skinned.In 1796 the painting was thought to be an image of Flemish diplomat Gaspar Gevartius. In 1864, the painting was purchased by the National Gallery in London as a work attributed to Flemish artist Peter Paul Rubens. The National Gallery later determined that it was a painting of Cornelis van der Geest by van Dyck.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: In Portrait of Cornelis van der Geest, how is the abstract discussed?

The Portrait of Cornelis van der Geest is a panel painting by Anthony van Dyck from about 1620. The original panel and painting were expanded by other artists. X-rays of the painting revealed the additions. Between 1620 and 1796, the provenance of the painting was not documented. The painting was also cleaned and skinned.In 1796 the painting was thought to be an image of Flemish diplomat Gaspar Gevartius. In 1864, the painting was purchased by the National Gallery in London as a work attributed to Flemish artist Peter Paul Rubens. The National Gallery later determined that it was a painting of Cornelis van der Geest by van Dyck.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Focus on Portrait of Cornelis van der Geest and explain the Background.

Around 1620, when the portrait was executed, van Dyck was 21 years old, and the subject of the painting, Cornelis van der Geest, was 65. It is one of van Dyck's earliest works but is considered a masterpiece. Van der Geest, a wealthy spice merchant from Antwerp, was an avid art collector and commissioned the painting. He was a prominent figure and patron of the arts.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Explain the Background of this artwork, Portrait of Cornelis van der Geest.

Around 1620, when the portrait was executed, van Dyck was 21 years old, and the subject of the painting, Cornelis van der Geest, was 65. It is one of van Dyck's earliest works but is considered a masterpiece. Van der Geest, a wealthy spice merchant from Antwerp, was an avid art collector and commissioned the painting. He was a prominent figure and patron of the arts.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: How does Portrait of Cornelis van der Geest explain its Background?

Around 1620, when the portrait was executed, van Dyck was 21 years old, and the subject of the painting, Cornelis van der Geest, was 65. It is one of van Dyck's earliest works but is considered a masterpiece. Van der Geest, a wealthy spice merchant from Antwerp, was an avid art collector and commissioned the painting. He was a prominent figure and patron of the arts.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: In Portrait of Cornelis van der Geest, how is the Background discussed?

Around 1620, when the portrait was executed, van Dyck was 21 years old, and the subject of the painting, Cornelis van der Geest, was 65. It is one of van Dyck's earliest works but is considered a masterpiece. Van der Geest, a wealthy spice merchant from Antwerp, was an avid art collector and commissioned the painting. He was a prominent figure and patron of the arts.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Focus on Portrait of Cornelis van der Geest and explain the History.

The painting is in the main collection of the National Gallery in London. From 1620 to 1796 its ownership was unknown; the known provenance begins with its sale at an auction in 1796, when it was thought to be an image of Gaspar Gevartius. In 1798 the painting was sold to Julius Angerstein at auction, and at the same auction a copy was sold as well. When Angerstein put the painting on display in 1815 he credited it to Flemish artist Peter Paul Rubens. In 1824 the painting was purchased by the National Gallery, and in 1864 they determined that the person in the image was Cornelis van der Geest and the artist was van Dyck.In 1948, the National Gallery cleaned and skinned the painting of its glazes. In 1950 it was cleaned again. The National Gallery is certain that the head and collar are the work of van Dyck, but they are uncertain about who painted the rest of the image. The painting is considered a "problem painting", both because the "skinning" may have harmed the original work and because of the large gap in its provenance. The use of X-ray technology has shown that the original painting may have been only the head inside a simulated oval frame, without the dark background. It is also clear that parts of the white ruffled collar were executed by a later artist. More wood was added to the bottom of the original oak-wood oval, probably in the 1630s, to expand the original face-only image to a bust. The National Gallery determined that this addition was not done by van Dyck.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Explain the History of this artwork, Portrait of Cornelis van der Geest.

The painting is in the main collection of the National Gallery in London. From 1620 to 1796 its ownership was unknown; the known provenance begins with its sale at an auction in 1796, when it was thought to be an image of Gaspar Gevartius. In 1798 the painting was sold to Julius Angerstein at auction, and at the same auction a copy was sold as well. When Angerstein put the painting on display in 1815 he credited it to Flemish artist Peter Paul Rubens. In 1824 the painting was purchased by the National Gallery, and in 1864 they determined that the person in the image was Cornelis van der Geest and the artist was van Dyck.In 1948, the National Gallery cleaned and skinned the painting of its glazes. In 1950 it was cleaned again. The National Gallery is certain that the head and collar are the work of van Dyck, but they are uncertain about who painted the rest of the image. The painting is considered a "problem painting", both because the "skinning" may have harmed the original work and because of the large gap in its provenance. The use of X-ray technology has shown that the original painting may have been only the head inside a simulated oval frame, without the dark background. It is also clear that parts of the white ruffled collar were executed by a later artist. More wood was added to the bottom of the original oak-wood oval, probably in the 1630s, to expand the original face-only image to a bust. The National Gallery determined that this addition was not done by van Dyck.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: How does Portrait of Cornelis van der Geest explain its History?

The painting is in the main collection of the National Gallery in London. From 1620 to 1796 its ownership was unknown; the known provenance begins with its sale at an auction in 1796, when it was thought to be an image of Gaspar Gevartius. In 1798 the painting was sold to Julius Angerstein at auction, and at the same auction a copy was sold as well. When Angerstein put the painting on display in 1815 he credited it to Flemish artist Peter Paul Rubens. In 1824 the painting was purchased by the National Gallery, and in 1864 they determined that the person in the image was Cornelis van der Geest and the artist was van Dyck.In 1948, the National Gallery cleaned and skinned the painting of its glazes. In 1950 it was cleaned again. The National Gallery is certain that the head and collar are the work of van Dyck, but they are uncertain about who painted the rest of the image. The painting is considered a "problem painting", both because the "skinning" may have harmed the original work and because of the large gap in its provenance. The use of X-ray technology has shown that the original painting may have been only the head inside a simulated oval frame, without the dark background. It is also clear that parts of the white ruffled collar were executed by a later artist. More wood was added to the bottom of the original oak-wood oval, probably in the 1630s, to expand the original face-only image to a bust. The National Gallery determined that this addition was not done by van Dyck.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: In Portrait of Cornelis van der Geest, how is the History discussed?

The painting is in the main collection of the National Gallery in London. From 1620 to 1796 its ownership was unknown; the known provenance begins with its sale at an auction in 1796, when it was thought to be an image of Gaspar Gevartius. In 1798 the painting was sold to Julius Angerstein at auction, and at the same auction a copy was sold as well. When Angerstein put the painting on display in 1815 he credited it to Flemish artist Peter Paul Rubens. In 1824 the painting was purchased by the National Gallery, and in 1864 they determined that the person in the image was Cornelis van der Geest and the artist was van Dyck.In 1948, the National Gallery cleaned and skinned the painting of its glazes. In 1950 it was cleaned again. The National Gallery is certain that the head and collar are the work of van Dyck, but they are uncertain about who painted the rest of the image. The painting is considered a "problem painting", both because the "skinning" may have harmed the original work and because of the large gap in its provenance. The use of X-ray technology has shown that the original painting may have been only the head inside a simulated oval frame, without the dark background. It is also clear that parts of the white ruffled collar were executed by a later artist. More wood was added to the bottom of the original oak-wood oval, probably in the 1630s, to expand the original face-only image to a bust. The National Gallery determined that this addition was not done by van Dyck.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: In the context of Portrait of Cornelis van der Geest, explain the Other versions and the History.

There are many known replicas and copies of this painting by other artists, including some from the 18th and 19th centuries. Two known engravings have also been created from the painting, one by British engraver George Thomas Doo in 1830 that is now stored in the Royal Academy of Arts in London, the other c. 1835 by John Rogers, who titled his engraving "Gevartius"; it is in the collection of the National Museum of American History in Washington, D.C..

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Explain the Other versions about the History of this artwork, Portrait of Cornelis van der Geest.

There are many known replicas and copies of this painting by other artists, including some from the 18th and 19th centuries. Two known engravings have also been created from the painting, one by British engraver George Thomas Doo in 1830 that is now stored in the Royal Academy of Arts in London, the other c. 1835 by John Rogers, who titled his engraving "Gevartius"; it is in the collection of the National Museum of American History in Washington, D.C..

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: In Portrait of Cornelis van der Geest, how is the Other versions of the History explained?

There are many known replicas and copies of this painting by other artists, including some from the 18th and 19th centuries. Two known engravings have also been created from the painting, one by British engraver George Thomas Doo in 1830 that is now stored in the Royal Academy of Arts in London, the other c. 1835 by John Rogers, who titled his engraving "Gevartius"; it is in the collection of the National Museum of American History in Washington, D.C..

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Describe the characteristics of the Other versions in Portrait of Cornelis van der Geest's History.

There are many known replicas and copies of this painting by other artists, including some from the 18th and 19th centuries. Two known engravings have also been created from the painting, one by British engraver George Thomas Doo in 1830 that is now stored in the Royal Academy of Arts in London, the other c. 1835 by John Rogers, who titled his engraving "Gevartius"; it is in the collection of the National Museum of American History in Washington, D.C..

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Focus on Portrait of Cornelis van der Geest and explain the Description.

The oil on wood painting is 37.5 cm (14.8 in) × 32.5 cm (12.8 in). The National Gallery's description of the painting is effusive; they referred to the brushwork as "virtuosic". The artist used long brushstrokes, and thick paint in some areas. There is the appearance of glistening water in the subject's eyes which was achieved with the use of white paint. The portrait includes only van der Geest's head and shoulders, which allowed the artist to concentrate on the facial features and details of the white ruffled collar. The painting was executed with a single light source in front and above the subject.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Explain the Description of this artwork, Portrait of Cornelis van der Geest.

The oil on wood painting is 37.5 cm (14.8 in) × 32.5 cm (12.8 in). The National Gallery's description of the painting is effusive; they referred to the brushwork as "virtuosic". The artist used long brushstrokes, and thick paint in some areas. There is the appearance of glistening water in the subject's eyes which was achieved with the use of white paint. The portrait includes only van der Geest's head and shoulders, which allowed the artist to concentrate on the facial features and details of the white ruffled collar. The painting was executed with a single light source in front and above the subject.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: How does Portrait of Cornelis van der Geest explain its Description?

The oil on wood painting is 37.5 cm (14.8 in) × 32.5 cm (12.8 in). The National Gallery's description of the painting is effusive; they referred to the brushwork as "virtuosic". The artist used long brushstrokes, and thick paint in some areas. There is the appearance of glistening water in the subject's eyes which was achieved with the use of white paint. The portrait includes only van der Geest's head and shoulders, which allowed the artist to concentrate on the facial features and details of the white ruffled collar. The painting was executed with a single light source in front and above the subject.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: In Portrait of Cornelis van der Geest, how is the Description discussed?

The oil on wood painting is 37.5 cm (14.8 in) × 32.5 cm (12.8 in). The National Gallery's description of the painting is effusive; they referred to the brushwork as "virtuosic". The artist used long brushstrokes, and thick paint in some areas. There is the appearance of glistening water in the subject's eyes which was achieved with the use of white paint. The portrait includes only van der Geest's head and shoulders, which allowed the artist to concentrate on the facial features and details of the white ruffled collar. The painting was executed with a single light source in front and above the subject.

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Focus on Portrait of Cornelis van der Geest and explain the Reception.

In Steve Holmes's book, Masterworks: Low and Surrounding Countries: Sixteenth to Eighteenth Century Old Master Paintings, Holmes focussed on the artist's skill at painting the eyes. He said Anthony van Dyck captured the eyes of his subject with an "animated brightness". In the book Anthony van Dyck: A Further Study British art historian Lionel Cust describes the painting as "elaborately and carefully constructed, built up and modelled to the extreme point of academic precision".

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: Explain the Reception of this artwork, Portrait of Cornelis van der Geest.

In Steve Holmes's book, Masterworks: Low and Surrounding Countries: Sixteenth to Eighteenth Century Old Master Paintings, Holmes focussed on the artist's skill at painting the eyes. He said Anthony van Dyck captured the eyes of his subject with an "animated brightness". In the book Anthony van Dyck: A Further Study British art historian Lionel Cust describes the painting as "elaborately and carefully constructed, built up and modelled to the extreme point of academic precision".

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: How does Portrait of Cornelis van der Geest explain its Reception?

In Steve Holmes's book, Masterworks: Low and Surrounding Countries: Sixteenth to Eighteenth Century Old Master Paintings, Holmes focussed on the artist's skill at painting the eyes. He said Anthony van Dyck captured the eyes of his subject with an "animated brightness". In the book Anthony van Dyck: A Further Study British art historian Lionel Cust describes the painting as "elaborately and carefully constructed, built up and modelled to the extreme point of academic precision".

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


Portrait of Cornelis van der Geest

Prompt: In Portrait of Cornelis van der Geest, how is the Reception discussed?

In Steve Holmes's book, Masterworks: Low and Surrounding Countries: Sixteenth to Eighteenth Century Old Master Paintings, Holmes focussed on the artist's skill at painting the eyes. He said Anthony van Dyck captured the eyes of his subject with an "animated brightness". In the book Anthony van Dyck: A Further Study British art historian Lionel Cust describes the painting as "elaborately and carefully constructed, built up and modelled to the extreme point of academic precision".

Category:Paintings in the National Gallery, London

Conservation and restoration of paintings#Skinning

"Gevartius" – a print by [[Francis William Wilkin


The Third-Class Carriage

Prompt: Focus on The Third-Class Carriage and explain the abstract.

The Third-Class Carriage (French: "Le Wagon de troisième classe") is the name of at least three oil paintings entitled made by the French painter Honoré Daumier. In a realistic manner, Daumier depicts the poverty and fortitude of working class travellers in a third class railway carriage. One oil-on canvas version, dated to c. 1862–1864 but left unfinished, is in the collection of the Metropolitan Museum of Art in New York, and a similar but completed painting dated to c. 1863–1865 is in the National Gallery of Canada in Ottawa. A third oil-on-panel version, dated to c. 1856–1858, with a different arrangement of the main three figures, is held by the Fine Arts Museums of San Francisco.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: Explain the abstract of this artwork, The Third-Class Carriage.

The Third-Class Carriage (French: "Le Wagon de troisième classe") is the name of at least three oil paintings entitled made by the French painter Honoré Daumier. In a realistic manner, Daumier depicts the poverty and fortitude of working class travellers in a third class railway carriage. One oil-on canvas version, dated to c. 1862–1864 but left unfinished, is in the collection of the Metropolitan Museum of Art in New York, and a similar but completed painting dated to c. 1863–1865 is in the National Gallery of Canada in Ottawa. A third oil-on-panel version, dated to c. 1856–1858, with a different arrangement of the main three figures, is held by the Fine Arts Museums of San Francisco.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: How does The Third-Class Carriage explain its abstract?

The Third-Class Carriage (French: "Le Wagon de troisième classe") is the name of at least three oil paintings entitled made by the French painter Honoré Daumier. In a realistic manner, Daumier depicts the poverty and fortitude of working class travellers in a third class railway carriage. One oil-on canvas version, dated to c. 1862–1864 but left unfinished, is in the collection of the Metropolitan Museum of Art in New York, and a similar but completed painting dated to c. 1863–1865 is in the National Gallery of Canada in Ottawa. A third oil-on-panel version, dated to c. 1856–1858, with a different arrangement of the main three figures, is held by the Fine Arts Museums of San Francisco.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: In The Third-Class Carriage, how is the abstract discussed?

The Third-Class Carriage (French: "Le Wagon de troisième classe") is the name of at least three oil paintings entitled made by the French painter Honoré Daumier. In a realistic manner, Daumier depicts the poverty and fortitude of working class travellers in a third class railway carriage. One oil-on canvas version, dated to c. 1862–1864 but left unfinished, is in the collection of the Metropolitan Museum of Art in New York, and a similar but completed painting dated to c. 1863–1865 is in the National Gallery of Canada in Ottawa. A third oil-on-panel version, dated to c. 1856–1858, with a different arrangement of the main three figures, is held by the Fine Arts Museums of San Francisco.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: Focus on The Third-Class Carriage and explain the Background.

Daumier had drawn and painted images of rail travel since the 1840s, focussing on the people travelling rather than the conveyances.  His series of lithographs, Les Chemins de Fer ("the railway") was published in the French magazine Le Charivari from 1843 to 1858, including prints published in December 1856 with the captions "Voyageurs appréciant de moins en moins les wagons de troisième classe, pendant l'hiver" ("Travellers showing less and less appreciation for travelling in third class in the winter") and "Intérieur d'un wagon de troisième classe pendent l'hiver" ("Interior of a third-class railway carriage in winter").The paintings relate to Daumier's three watercolors with ink and charcoal, now in the Walters Art Museum in Baltimore - one for each of the first, second and third class carriages - which were commissioned in 1864 by George A. Lucas for William Thompson Walters.  Three working drawings of the same subject have also survived, perhaps tracings, including one in the Bibliothèque nationale de France.  It seems two of the oil paintings were worked on concurrently, but the sequence of the paintings is not clear and the one in New York was left unfinished.  Daumier was best known as an illustrator, and his paintings remained unknown until an exhibition held by Paul Durand-Ruel in Paris in 1878, the year before Daumier's death.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: Explain the Background of this artwork, The Third-Class Carriage.

Daumier had drawn and painted images of rail travel since the 1840s, focussing on the people travelling rather than the conveyances.  His series of lithographs, Les Chemins de Fer ("the railway") was published in the French magazine Le Charivari from 1843 to 1858, including prints published in December 1856 with the captions "Voyageurs appréciant de moins en moins les wagons de troisième classe, pendant l'hiver" ("Travellers showing less and less appreciation for travelling in third class in the winter") and "Intérieur d'un wagon de troisième classe pendent l'hiver" ("Interior of a third-class railway carriage in winter").The paintings relate to Daumier's three watercolors with ink and charcoal, now in the Walters Art Museum in Baltimore - one for each of the first, second and third class carriages - which were commissioned in 1864 by George A. Lucas for William Thompson Walters.  Three working drawings of the same subject have also survived, perhaps tracings, including one in the Bibliothèque nationale de France.  It seems two of the oil paintings were worked on concurrently, but the sequence of the paintings is not clear and the one in New York was left unfinished.  Daumier was best known as an illustrator, and his paintings remained unknown until an exhibition held by Paul Durand-Ruel in Paris in 1878, the year before Daumier's death.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: How does The Third-Class Carriage explain its Background?

Daumier had drawn and painted images of rail travel since the 1840s, focussing on the people travelling rather than the conveyances.  His series of lithographs, Les Chemins de Fer ("the railway") was published in the French magazine Le Charivari from 1843 to 1858, including prints published in December 1856 with the captions "Voyageurs appréciant de moins en moins les wagons de troisième classe, pendant l'hiver" ("Travellers showing less and less appreciation for travelling in third class in the winter") and "Intérieur d'un wagon de troisième classe pendent l'hiver" ("Interior of a third-class railway carriage in winter").The paintings relate to Daumier's three watercolors with ink and charcoal, now in the Walters Art Museum in Baltimore - one for each of the first, second and third class carriages - which were commissioned in 1864 by George A. Lucas for William Thompson Walters.  Three working drawings of the same subject have also survived, perhaps tracings, including one in the Bibliothèque nationale de France.  It seems two of the oil paintings were worked on concurrently, but the sequence of the paintings is not clear and the one in New York was left unfinished.  Daumier was best known as an illustrator, and his paintings remained unknown until an exhibition held by Paul Durand-Ruel in Paris in 1878, the year before Daumier's death.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: In The Third-Class Carriage, how is the Background discussed?

Daumier had drawn and painted images of rail travel since the 1840s, focussing on the people travelling rather than the conveyances.  His series of lithographs, Les Chemins de Fer ("the railway") was published in the French magazine Le Charivari from 1843 to 1858, including prints published in December 1856 with the captions "Voyageurs appréciant de moins en moins les wagons de troisième classe, pendant l'hiver" ("Travellers showing less and less appreciation for travelling in third class in the winter") and "Intérieur d'un wagon de troisième classe pendent l'hiver" ("Interior of a third-class railway carriage in winter").The paintings relate to Daumier's three watercolors with ink and charcoal, now in the Walters Art Museum in Baltimore - one for each of the first, second and third class carriages - which were commissioned in 1864 by George A. Lucas for William Thompson Walters.  Three working drawings of the same subject have also survived, perhaps tracings, including one in the Bibliothèque nationale de France.  It seems two of the oil paintings were worked on concurrently, but the sequence of the paintings is not clear and the one in New York was left unfinished.  Daumier was best known as an illustrator, and his paintings remained unknown until an exhibition held by Paul Durand-Ruel in Paris in 1878, the year before Daumier's death.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: Focus on The Third-Class Carriage and explain the Description.

The Third-Class Carriage evidences Daumier's interest, as also seen in his graphic works, in the lives of working-class Parisians.  Third-class railway carriages were cramped, dirty, open compartments with hard wooden benches, filled with those who could not afford second or first-class tickets. The versions in New York and Ottawa are both in oils on canvas, and measure 65.4 cm × 90.2 cm (25.7 in × 35.5 in).  On the wooden bench seat facing the viewer are seated, from left, a woman nursing her baby, an older woman with her hands clasped atop a basket, and a young boy asleep.  The figures may be intended to peasants, influenced by Jean-François Millet.  Seated behind them are anonymous rows of men and women.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

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

The Third-Class Carriage evidences Daumier's interest, as also seen in his graphic works, in the lives of working-class Parisians.  Third-class railway carriages were cramped, dirty, open compartments with hard wooden benches, filled with those who could not afford second or first-class tickets. The versions in New York and Ottawa are both in oils on canvas, and measure 65.4 cm × 90.2 cm (25.7 in × 35.5 in).  On the wooden bench seat facing the viewer are seated, from left, a woman nursing her baby, an older woman with her hands clasped atop a basket, and a young boy asleep.  The figures may be intended to peasants, influenced by Jean-François Millet.  Seated behind them are anonymous rows of men and women.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: How does The Third-Class Carriage explain its Description?

The Third-Class Carriage evidences Daumier's interest, as also seen in his graphic works, in the lives of working-class Parisians.  Third-class railway carriages were cramped, dirty, open compartments with hard wooden benches, filled with those who could not afford second or first-class tickets. The versions in New York and Ottawa are both in oils on canvas, and measure 65.4 cm × 90.2 cm (25.7 in × 35.5 in).  On the wooden bench seat facing the viewer are seated, from left, a woman nursing her baby, an older woman with her hands clasped atop a basket, and a young boy asleep.  The figures may be intended to peasants, influenced by Jean-François Millet.  Seated behind them are anonymous rows of men and women.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

Prompt: In The Third-Class Carriage, how is the Description discussed?

The Third-Class Carriage evidences Daumier's interest, as also seen in his graphic works, in the lives of working-class Parisians.  Third-class railway carriages were cramped, dirty, open compartments with hard wooden benches, filled with those who could not afford second or first-class tickets. The versions in New York and Ottawa are both in oils on canvas, and measure 65.4 cm × 90.2 cm (25.7 in × 35.5 in).  On the wooden bench seat facing the viewer are seated, from left, a woman nursing her baby, an older woman with her hands clasped atop a basket, and a young boy asleep.  The figures may be intended to peasants, influenced by Jean-François Millet.  Seated behind them are anonymous rows of men and women.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

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

The painting in New York is dated to c. 1862–1864 but remains unfinished.  It is still squared for transfer, possibly from the Walters watercolor or another earlier work, with areas outlined in black.  It was owned by the art dealer J. Duz when it was exhibited at the École des Beaux-Arts in Paris in 1888.  It was sold to Paul Durand-Ruel's gallery in Paris in 1892, and transferred to the New York branch the following year.  It was sold in 1896 to M.C.D. Borden, and after his death in 1912 it was sold by his estate in 1913 for US$40,000 and acquired by Louisine Havemeyer, the wife of H. O. Havemeyer.  After her death in 1929, it entered the Met's collection in 1929 as part of the H. O. Havemeyer bequest.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

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

The painting in New York is dated to c. 1862–1864 but remains unfinished.  It is still squared for transfer, possibly from the Walters watercolor or another earlier work, with areas outlined in black.  It was owned by the art dealer J. Duz when it was exhibited at the École des Beaux-Arts in Paris in 1888.  It was sold to Paul Durand-Ruel's gallery in Paris in 1892, and transferred to the New York branch the following year.  It was sold in 1896 to M.C.D. Borden, and after his death in 1912 it was sold by his estate in 1913 for US$40,000 and acquired by Louisine Havemeyer, the wife of H. O. Havemeyer.  After her death in 1929, it entered the Met's collection in 1929 as part of the H. O. Havemeyer bequest.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

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

The painting in New York is dated to c. 1862–1864 but remains unfinished.  It is still squared for transfer, possibly from the Walters watercolor or another earlier work, with areas outlined in black.  It was owned by the art dealer J. Duz when it was exhibited at the École des Beaux-Arts in Paris in 1888.  It was sold to Paul Durand-Ruel's gallery in Paris in 1892, and transferred to the New York branch the following year.  It was sold in 1896 to M.C.D. Borden, and after his death in 1912 it was sold by his estate in 1913 for US$40,000 and acquired by Louisine Havemeyer, the wife of H. O. Havemeyer.  After her death in 1929, it entered the Met's collection in 1929 as part of the H. O. Havemeyer bequest.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

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

The painting in New York is dated to c. 1862–1864 but remains unfinished.  It is still squared for transfer, possibly from the Walters watercolor or another earlier work, with areas outlined in black.  It was owned by the art dealer J. Duz when it was exhibited at the École des Beaux-Arts in Paris in 1888.  It was sold to Paul Durand-Ruel's gallery in Paris in 1892, and transferred to the New York branch the following year.  It was sold in 1896 to M.C.D. Borden, and after his death in 1912 it was sold by his estate in 1913 for US$40,000 and acquired by Louisine Havemeyer, the wife of H. O. Havemeyer.  After her death in 1929, it entered the Met's collection in 1929 as part of the H. O. Havemeyer bequest.

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)


The Third-Class Carriage

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

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

Category:Collection of the National Gallery of Canada

Category:Paintings in the Metropolitan Museum of Art

pt:Carruagem de Terceira Classe (Daumier)