The Cathedral (sculpture)

Prompt: How does The Cathedral (sculpture) explain its Description?

It shows two intertwined right hands belonging to two different figures.

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

Prompt: In The Cathedral (sculpture), how is the Description discussed?

It shows two intertwined right hands belonging to two different figures.

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

Prompt: Focus on The Cathedral (sculpture) and explain the Versions.

Originally carved in stone, it was later cast in various editions in bronze.

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

Prompt: Explain the Versions of this artwork, The Cathedral (sculpture).

Originally carved in stone, it was later cast in various editions in bronze.

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

Prompt: How does The Cathedral (sculpture) explain its Versions?

Originally carved in stone, it was later cast in various editions in bronze.

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

Prompt: In The Cathedral (sculpture), how is the Versions discussed?

Originally carved in stone, it was later cast in various editions in bronze.

Category:Sculptures in the Museo Soumaya


Adoration of the Shepherds (der Goes)

Prompt: Focus on Adoration of the Shepherds (der Goes) and explain the abstract.

Adoration of the Shepherds (also referred to as The Nativity) is a late oil painting by the Flemish Northern Renaissance painter Hugo van der Goes, now in the Gemäldegalerie, Berlin. Unusually large for van der Goes, it is less well-known than his Portinari Triptych or his Monforte Altarpiece on the same subject. He produced it before renouncing his worldly life and becoming a lay brother at Rouge-Cloître Abbey near Brussels, a daughter house of the Windesheim Congregation in the strict tradition of the Brethren of the Common Life, part of the wider devotio moderna movement.The scene is flanked by two prophets from the Hebrew scriptures, shown half-length and holding up a green curtain, which they part to show the scene. Standing in front of the scene, they act as intermediaries between it and the viewer, with the right-hand one with his hand and mouth open as if to speak. According to art historian Hans Belting, the panel "is indeed a scene in the theatrical sense, as we see the curtains opening on the stable in Bethlehem as if the play is about to begin." The scene itself includes three shepherds as well as a background scene showing the angels announcing Christ's birth to them. The Christ Child looks out at the viewer and behind him, Mary and Joseph is a group of angels.

Category:Paintings in the Gemäldegalerie, Berlin

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (der Goes)

Prompt: Explain the abstract of this artwork, Adoration of the Shepherds (der Goes).

Adoration of the Shepherds (also referred to as The Nativity) is a late oil painting by the Flemish Northern Renaissance painter Hugo van der Goes, now in the Gemäldegalerie, Berlin. Unusually large for van der Goes, it is less well-known than his Portinari Triptych or his Monforte Altarpiece on the same subject. He produced it before renouncing his worldly life and becoming a lay brother at Rouge-Cloître Abbey near Brussels, a daughter house of the Windesheim Congregation in the strict tradition of the Brethren of the Common Life, part of the wider devotio moderna movement.The scene is flanked by two prophets from the Hebrew scriptures, shown half-length and holding up a green curtain, which they part to show the scene. Standing in front of the scene, they act as intermediaries between it and the viewer, with the right-hand one with his hand and mouth open as if to speak. According to art historian Hans Belting, the panel "is indeed a scene in the theatrical sense, as we see the curtains opening on the stable in Bethlehem as if the play is about to begin." The scene itself includes three shepherds as well as a background scene showing the angels announcing Christ's birth to them. The Christ Child looks out at the viewer and behind him, Mary and Joseph is a group of angels.

Category:Paintings in the Gemäldegalerie, Berlin

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (der Goes)

Prompt: How does Adoration of the Shepherds (der Goes) explain its abstract?

Adoration of the Shepherds (also referred to as The Nativity) is a late oil painting by the Flemish Northern Renaissance painter Hugo van der Goes, now in the Gemäldegalerie, Berlin. Unusually large for van der Goes, it is less well-known than his Portinari Triptych or his Monforte Altarpiece on the same subject. He produced it before renouncing his worldly life and becoming a lay brother at Rouge-Cloître Abbey near Brussels, a daughter house of the Windesheim Congregation in the strict tradition of the Brethren of the Common Life, part of the wider devotio moderna movement.The scene is flanked by two prophets from the Hebrew scriptures, shown half-length and holding up a green curtain, which they part to show the scene. Standing in front of the scene, they act as intermediaries between it and the viewer, with the right-hand one with his hand and mouth open as if to speak. According to art historian Hans Belting, the panel "is indeed a scene in the theatrical sense, as we see the curtains opening on the stable in Bethlehem as if the play is about to begin." The scene itself includes three shepherds as well as a background scene showing the angels announcing Christ's birth to them. The Christ Child looks out at the viewer and behind him, Mary and Joseph is a group of angels.

Category:Paintings in the Gemäldegalerie, Berlin

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (der Goes)

Prompt: In Adoration of the Shepherds (der Goes), how is the abstract discussed?

Adoration of the Shepherds (also referred to as The Nativity) is a late oil painting by the Flemish Northern Renaissance painter Hugo van der Goes, now in the Gemäldegalerie, Berlin. Unusually large for van der Goes, it is less well-known than his Portinari Triptych or his Monforte Altarpiece on the same subject. He produced it before renouncing his worldly life and becoming a lay brother at Rouge-Cloître Abbey near Brussels, a daughter house of the Windesheim Congregation in the strict tradition of the Brethren of the Common Life, part of the wider devotio moderna movement.The scene is flanked by two prophets from the Hebrew scriptures, shown half-length and holding up a green curtain, which they part to show the scene. Standing in front of the scene, they act as intermediaries between it and the viewer, with the right-hand one with his hand and mouth open as if to speak. According to art historian Hans Belting, the panel "is indeed a scene in the theatrical sense, as we see the curtains opening on the stable in Bethlehem as if the play is about to begin." The scene itself includes three shepherds as well as a background scene showing the angels announcing Christ's birth to them. The Christ Child looks out at the viewer and behind him, Mary and Joseph is a group of angels.

Category:Paintings in the Gemäldegalerie, Berlin

Category:Adoration of the Shepherds in art


Killing a Deer

Prompt: Focus on Killing a Deer and explain the abstract.

Killing a Deer or A Deer Hunt – The Kill (French: L'Hallali du cerf), is a very large painting (355 by 505 cm) representing a hunting scene, completed in 1867 by the French Realist painter Gustave Courbet. The picture is currently on display in the Musée des Beaux-Arts et d'Archéologie of Besançon.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: Explain the abstract of this artwork, Killing a Deer.

Killing a Deer or A Deer Hunt – The Kill (French: L'Hallali du cerf), is a very large painting (355 by 505 cm) representing a hunting scene, completed in 1867 by the French Realist painter Gustave Courbet. The picture is currently on display in the Musée des Beaux-Arts et d'Archéologie of Besançon.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: How does Killing a Deer explain its abstract?

Killing a Deer or A Deer Hunt – The Kill (French: L'Hallali du cerf), is a very large painting (355 by 505 cm) representing a hunting scene, completed in 1867 by the French Realist painter Gustave Courbet. The picture is currently on display in the Musée des Beaux-Arts et d'Archéologie of Besançon.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: In Killing a Deer, how is the abstract discussed?

Killing a Deer or A Deer Hunt – The Kill (French: L'Hallali du cerf), is a very large painting (355 by 505 cm) representing a hunting scene, completed in 1867 by the French Realist painter Gustave Courbet. The picture is currently on display in the Musée des Beaux-Arts et d'Archéologie of Besançon.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: Focus on Killing a Deer and explain the History.

The painting was done during the winter of 1866–1867. It is in the large format newly adopted by Courbet, as also in A Burial at Ornans and The Artist's Studio. The work was exhibited at the French art salons and academies of 1869. The picture caused some scandal, major formats being previously reserved for noble history paintings rather than hunting scenes.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: Explain the History of this artwork, Killing a Deer.

The painting was done during the winter of 1866–1867. It is in the large format newly adopted by Courbet, as also in A Burial at Ornans and The Artist's Studio. The work was exhibited at the French art salons and academies of 1869. The picture caused some scandal, major formats being previously reserved for noble history paintings rather than hunting scenes.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: How does Killing a Deer explain its History?

The painting was done during the winter of 1866–1867. It is in the large format newly adopted by Courbet, as also in A Burial at Ornans and The Artist's Studio. The work was exhibited at the French art salons and academies of 1869. The picture caused some scandal, major formats being previously reserved for noble history paintings rather than hunting scenes.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: In Killing a Deer, how is the History discussed?

The painting was done during the winter of 1866–1867. It is in the large format newly adopted by Courbet, as also in A Burial at Ornans and The Artist's Studio. The work was exhibited at the French art salons and academies of 1869. The picture caused some scandal, major formats being previously reserved for noble history paintings rather than hunting scenes.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: Focus on Killing a Deer and explain the Iconography.

The scene shows a deer attacked by a pack of hunting dogs, collapsed on the snowy ground. Two characters are on the right. The drill is Cusenier Jules, a resident of Ornans while the man on horseback is Felix Gaudy, of Vuillafans. L'Hallali is in the tradition of representation of the scene hunt, from the seventeenth century. Courbet uses a harsh realistic representation closer to Flemish models. Hunting scenes are common in the paintings of Courbet; every step of the chase is represented.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: Explain the Iconography of this artwork, Killing a Deer.

The scene shows a deer attacked by a pack of hunting dogs, collapsed on the snowy ground. Two characters are on the right. The drill is Cusenier Jules, a resident of Ornans while the man on horseback is Felix Gaudy, of Vuillafans. L'Hallali is in the tradition of representation of the scene hunt, from the seventeenth century. Courbet uses a harsh realistic representation closer to Flemish models. Hunting scenes are common in the paintings of Courbet; every step of the chase is represented.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: How does Killing a Deer explain its Iconography?

The scene shows a deer attacked by a pack of hunting dogs, collapsed on the snowy ground. Two characters are on the right. The drill is Cusenier Jules, a resident of Ornans while the man on horseback is Felix Gaudy, of Vuillafans. L'Hallali is in the tradition of representation of the scene hunt, from the seventeenth century. Courbet uses a harsh realistic representation closer to Flemish models. Hunting scenes are common in the paintings of Courbet; every step of the chase is represented.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: In Killing a Deer, how is the Iconography discussed?

The scene shows a deer attacked by a pack of hunting dogs, collapsed on the snowy ground. Two characters are on the right. The drill is Cusenier Jules, a resident of Ornans while the man on horseback is Felix Gaudy, of Vuillafans. L'Hallali is in the tradition of representation of the scene hunt, from the seventeenth century. Courbet uses a harsh realistic representation closer to Flemish models. Hunting scenes are common in the paintings of Courbet; every step of the chase is represented.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: Focus on Killing a Deer and explain the Influences.

There is another influence in this painting, that of The Massacre at Chios (1824) by Eugène Delacroix (illustrated). His influence is reflected particularly through the mounted character.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: Explain the Influences of this artwork, Killing a Deer.

There is another influence in this painting, that of The Massacre at Chios (1824) by Eugène Delacroix (illustrated). His influence is reflected particularly through the mounted character.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: How does Killing a Deer explain its Influences?

There is another influence in this painting, that of The Massacre at Chios (1824) by Eugène Delacroix (illustrated). His influence is reflected particularly through the mounted character.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Killing a Deer

Prompt: In Killing a Deer, how is the Influences discussed?

There is another influence in this painting, that of The Massacre at Chios (1824) by Eugène Delacroix (illustrated). His influence is reflected particularly through the mounted character.

Musée des Beaux-Arts et d'archéologie de Besançon

Category:Collection of the Musée des Beaux-Arts et d'Archéologie de Besançon


Altarpiece of the Centenar de la Ploma

Prompt: Focus on Altarpiece of the Centenar de la Ploma and explain the abstract.

The Altarpiece of the Centenar de la Ploma or Altarpiece of Saint George of the Centenar de la Ploma is a large-scale International Gothic altarpiece executed around 1400 by Andreu Marçal de Sax and Miquel Alcanyís on behalf of the company of the Centenar de la Ploma, symbolising the Battle of the Puig that took place in 1237. Following the acquisition made in 1864, the work is currently in the Victoria and Albert Museum, London.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: Explain the abstract of this artwork, Altarpiece of the Centenar de la Ploma.

The Altarpiece of the Centenar de la Ploma or Altarpiece of Saint George of the Centenar de la Ploma is a large-scale International Gothic altarpiece executed around 1400 by Andreu Marçal de Sax and Miquel Alcanyís on behalf of the company of the Centenar de la Ploma, symbolising the Battle of the Puig that took place in 1237. Following the acquisition made in 1864, the work is currently in the Victoria and Albert Museum, London.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: How does Altarpiece of the Centenar de la Ploma explain its abstract?

The Altarpiece of the Centenar de la Ploma or Altarpiece of Saint George of the Centenar de la Ploma is a large-scale International Gothic altarpiece executed around 1400 by Andreu Marçal de Sax and Miquel Alcanyís on behalf of the company of the Centenar de la Ploma, symbolising the Battle of the Puig that took place in 1237. Following the acquisition made in 1864, the work is currently in the Victoria and Albert Museum, London.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: In Altarpiece of the Centenar de la Ploma, how is the abstract discussed?

The Altarpiece of the Centenar de la Ploma or Altarpiece of Saint George of the Centenar de la Ploma is a large-scale International Gothic altarpiece executed around 1400 by Andreu Marçal de Sax and Miquel Alcanyís on behalf of the company of the Centenar de la Ploma, symbolising the Battle of the Puig that took place in 1237. Following the acquisition made in 1864, the work is currently in the Victoria and Albert Museum, London.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: Focus on Altarpiece of the Centenar de la Ploma and explain the Context.

In 1237, during the conquest of the Taifa of Valencia, King James I of Aragon gained control of the Castle of El Puig. With his troops weakened due to the conquests, he received the warning of a counterattack by the Muslim forces, so he marched towards Catalonia to gather more troops, leaving Guillem Aguiló in charge. In James's absence, the Muslim king Zayyan ibn Mardanish attacked the fortification. During the battle, while part of his troops were fighting the Muslims, Aguiló advanced from behind the hill sounding numerous trumpets and carrying flags taken from nearby ships, with the royal pennant at the head, making the Muslims believe that James was arriving with an army. According to Bernard Desclot's Chronicle, at that moment Saint George appeared with his own army of knights, allowing the Christians to win the battle.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: Explain the Context of this artwork, Altarpiece of the Centenar de la Ploma.

In 1237, during the conquest of the Taifa of Valencia, King James I of Aragon gained control of the Castle of El Puig. With his troops weakened due to the conquests, he received the warning of a counterattack by the Muslim forces, so he marched towards Catalonia to gather more troops, leaving Guillem Aguiló in charge. In James's absence, the Muslim king Zayyan ibn Mardanish attacked the fortification. During the battle, while part of his troops were fighting the Muslims, Aguiló advanced from behind the hill sounding numerous trumpets and carrying flags taken from nearby ships, with the royal pennant at the head, making the Muslims believe that James was arriving with an army. According to Bernard Desclot's Chronicle, at that moment Saint George appeared with his own army of knights, allowing the Christians to win the battle.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: How does Altarpiece of the Centenar de la Ploma explain its Context?

In 1237, during the conquest of the Taifa of Valencia, King James I of Aragon gained control of the Castle of El Puig. With his troops weakened due to the conquests, he received the warning of a counterattack by the Muslim forces, so he marched towards Catalonia to gather more troops, leaving Guillem Aguiló in charge. In James's absence, the Muslim king Zayyan ibn Mardanish attacked the fortification. During the battle, while part of his troops were fighting the Muslims, Aguiló advanced from behind the hill sounding numerous trumpets and carrying flags taken from nearby ships, with the royal pennant at the head, making the Muslims believe that James was arriving with an army. According to Bernard Desclot's Chronicle, at that moment Saint George appeared with his own army of knights, allowing the Christians to win the battle.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: In Altarpiece of the Centenar de la Ploma, how is the Context discussed?

In 1237, during the conquest of the Taifa of Valencia, King James I of Aragon gained control of the Castle of El Puig. With his troops weakened due to the conquests, he received the warning of a counterattack by the Muslim forces, so he marched towards Catalonia to gather more troops, leaving Guillem Aguiló in charge. In James's absence, the Muslim king Zayyan ibn Mardanish attacked the fortification. During the battle, while part of his troops were fighting the Muslims, Aguiló advanced from behind the hill sounding numerous trumpets and carrying flags taken from nearby ships, with the royal pennant at the head, making the Muslims believe that James was arriving with an army. According to Bernard Desclot's Chronicle, at that moment Saint George appeared with his own army of knights, allowing the Christians to win the battle.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: Focus on Altarpiece of the Centenar de la Ploma and explain the History.

On 3 June 1365, Pere the Ceremonious created the militia of the Centenar de la Ploma, initially called the Centenar of the Glorious Sant Jordi. After the Church of Sant Jordi in Valencia was consecrated on 27 May 1401, the Centenary commissioned an altarpiece for this church, which was made sometime between 1400 and 1420. Due to its dimensions and complexity, the work probably had several authors, mainly Marçal de Sax and Miquel Alcanyís, but also very likely Johan Utuvert and Gonçal Peris.In 1740 the altarpiece was still in the church, but it was demolished in 1807 and the altarpiece was lost until it appeared in Paris in 1864, dismantled in several pieces. After a period of negotiation, the altarpiece was bought by the South Kensington museum in London for 800 pounds or 20,000 francs, a high price for a work of this nature at the time. Since then, the altarpiece has been exhibited in that museum, now called the Victoria and Albert Museum.In 2010, negotiations began with the London museum for a temporary return of the altarpiece to Valencia, but ultimately they did not succeed.In 2019 the predella of the altarpiece, the part most in need of restoration, arrived at the Museum of Fine Arts in Valencia to be restored and analysed, it remained on display between 2020 and 2021. The restoration lasted for a year and a half and made it possible to recover the original colours and brightness.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: Explain the History of this artwork, Altarpiece of the Centenar de la Ploma.

On 3 June 1365, Pere the Ceremonious created the militia of the Centenar de la Ploma, initially called the Centenar of the Glorious Sant Jordi. After the Church of Sant Jordi in Valencia was consecrated on 27 May 1401, the Centenary commissioned an altarpiece for this church, which was made sometime between 1400 and 1420. Due to its dimensions and complexity, the work probably had several authors, mainly Marçal de Sax and Miquel Alcanyís, but also very likely Johan Utuvert and Gonçal Peris.In 1740 the altarpiece was still in the church, but it was demolished in 1807 and the altarpiece was lost until it appeared in Paris in 1864, dismantled in several pieces. After a period of negotiation, the altarpiece was bought by the South Kensington museum in London for 800 pounds or 20,000 francs, a high price for a work of this nature at the time. Since then, the altarpiece has been exhibited in that museum, now called the Victoria and Albert Museum.In 2010, negotiations began with the London museum for a temporary return of the altarpiece to Valencia, but ultimately they did not succeed.In 2019 the predella of the altarpiece, the part most in need of restoration, arrived at the Museum of Fine Arts in Valencia to be restored and analysed, it remained on display between 2020 and 2021. The restoration lasted for a year and a half and made it possible to recover the original colours and brightness.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: How does Altarpiece of the Centenar de la Ploma explain its History?

On 3 June 1365, Pere the Ceremonious created the militia of the Centenar de la Ploma, initially called the Centenar of the Glorious Sant Jordi. After the Church of Sant Jordi in Valencia was consecrated on 27 May 1401, the Centenary commissioned an altarpiece for this church, which was made sometime between 1400 and 1420. Due to its dimensions and complexity, the work probably had several authors, mainly Marçal de Sax and Miquel Alcanyís, but also very likely Johan Utuvert and Gonçal Peris.In 1740 the altarpiece was still in the church, but it was demolished in 1807 and the altarpiece was lost until it appeared in Paris in 1864, dismantled in several pieces. After a period of negotiation, the altarpiece was bought by the South Kensington museum in London for 800 pounds or 20,000 francs, a high price for a work of this nature at the time. Since then, the altarpiece has been exhibited in that museum, now called the Victoria and Albert Museum.In 2010, negotiations began with the London museum for a temporary return of the altarpiece to Valencia, but ultimately they did not succeed.In 2019 the predella of the altarpiece, the part most in need of restoration, arrived at the Museum of Fine Arts in Valencia to be restored and analysed, it remained on display between 2020 and 2021. The restoration lasted for a year and a half and made it possible to recover the original colours and brightness.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: In Altarpiece of the Centenar de la Ploma, how is the History discussed?

On 3 June 1365, Pere the Ceremonious created the militia of the Centenar de la Ploma, initially called the Centenar of the Glorious Sant Jordi. After the Church of Sant Jordi in Valencia was consecrated on 27 May 1401, the Centenary commissioned an altarpiece for this church, which was made sometime between 1400 and 1420. Due to its dimensions and complexity, the work probably had several authors, mainly Marçal de Sax and Miquel Alcanyís, but also very likely Johan Utuvert and Gonçal Peris.In 1740 the altarpiece was still in the church, but it was demolished in 1807 and the altarpiece was lost until it appeared in Paris in 1864, dismantled in several pieces. After a period of negotiation, the altarpiece was bought by the South Kensington museum in London for 800 pounds or 20,000 francs, a high price for a work of this nature at the time. Since then, the altarpiece has been exhibited in that museum, now called the Victoria and Albert Museum.In 2010, negotiations began with the London museum for a temporary return of the altarpiece to Valencia, but ultimately they did not succeed.In 2019 the predella of the altarpiece, the part most in need of restoration, arrived at the Museum of Fine Arts in Valencia to be restored and analysed, it remained on display between 2020 and 2021. The restoration lasted for a year and a half and made it possible to recover the original colours and brightness.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: Focus on Altarpiece of the Centenar de la Ploma and explain the Characteristics.

The altarpiece measures 6.6 meters high and 5.5 meters wide and is made up of five vertical panels, among which the central one stands out for being the highest and widest. The technique used is tempera on wood and its style is International Gothic.The side panels narrate the legend of Sant Jordi through 16 scenes: the first scene shows angels dressing Sant Jordi in his armour, the second shows the town being frightened by the dragon and the population offering animals and people to feed him -lo, in the third Saint George meets the king and is asked to save the princess, the fourth is the saint walking the dragon now tamed and submissive, the fifth scene represents the baptism of the royal court after this event, the sixth scene shows the saint denouncing the Roman governor's devotion to pagan symbols, which causes his crucifixion in the following scene, in the eighth he continues his martyrdom by poisoning, and in the ninth we see how his bowels are opened by fill them with salt, the tenth scene shows Jesus appearing at night to comfort Saint George, scenes 11 and 12 show him being tortured with two wheels and sawn in half, in the 13th they put him in molten lead, 14 shows his captors offering him to surrender and accept his gods, when he refuses he is dragged naked down the panel in scene 15 and beheaded in scene 16. The moment when the saint defeats the dragon appears in the lower scene of the central panel, with the princess watching in the background. The scene above this one shows the Battle of El Puig, the two main characters are James I killing Zayyan (although James I was not present at the battle or engaged with the Muslim king) and Saint George King James and his horse wear the colours of the royal ensign, while Sant Jordi wears the clothing of the Centenary of the Feather. In the background, the rest of the knights arriving at the battle carrying several flags can be seen, among them the royal pennant and a flag with an eagle with open wings typical of Guillem d'Aguiló. The upper central scene shows an image of the Virgin Mary surrounded by angels. Each of the side panels is headed by one of the evangelists, while the central one is headed by Christ. In the alleys, there are twenty-five prophets and on the dust cover or bracelet the twelve apostles, in the upper central part of the dust cover appears the dove of the Holy Spirit, with the cross of Saint George on one side and a crossbow on the 'other, in reference to the Centenar de la Ploma militia that paid for the altarpiece. Finally, at the base is the predella, where ten scenes of the Passion are represented: the Oration in the Garden, the Betrayal, the Rapture, the Flagellation, the encounter with Caiaphas, the Way to Calvary with the cross, Crucifixion, Descent, Lamentation, and Resurrection, the side scenes are partially cut out and in the center there is a space where the tabernacle was probably located.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: Explain the Characteristics of this artwork, Altarpiece of the Centenar de la Ploma.

The altarpiece measures 6.6 meters high and 5.5 meters wide and is made up of five vertical panels, among which the central one stands out for being the highest and widest. The technique used is tempera on wood and its style is International Gothic.The side panels narrate the legend of Sant Jordi through 16 scenes: the first scene shows angels dressing Sant Jordi in his armour, the second shows the town being frightened by the dragon and the population offering animals and people to feed him -lo, in the third Saint George meets the king and is asked to save the princess, the fourth is the saint walking the dragon now tamed and submissive, the fifth scene represents the baptism of the royal court after this event, the sixth scene shows the saint denouncing the Roman governor's devotion to pagan symbols, which causes his crucifixion in the following scene, in the eighth he continues his martyrdom by poisoning, and in the ninth we see how his bowels are opened by fill them with salt, the tenth scene shows Jesus appearing at night to comfort Saint George, scenes 11 and 12 show him being tortured with two wheels and sawn in half, in the 13th they put him in molten lead, 14 shows his captors offering him to surrender and accept his gods, when he refuses he is dragged naked down the panel in scene 15 and beheaded in scene 16. The moment when the saint defeats the dragon appears in the lower scene of the central panel, with the princess watching in the background. The scene above this one shows the Battle of El Puig, the two main characters are James I killing Zayyan (although James I was not present at the battle or engaged with the Muslim king) and Saint George King James and his horse wear the colours of the royal ensign, while Sant Jordi wears the clothing of the Centenary of the Feather. In the background, the rest of the knights arriving at the battle carrying several flags can be seen, among them the royal pennant and a flag with an eagle with open wings typical of Guillem d'Aguiló. The upper central scene shows an image of the Virgin Mary surrounded by angels. Each of the side panels is headed by one of the evangelists, while the central one is headed by Christ. In the alleys, there are twenty-five prophets and on the dust cover or bracelet the twelve apostles, in the upper central part of the dust cover appears the dove of the Holy Spirit, with the cross of Saint George on one side and a crossbow on the 'other, in reference to the Centenar de la Ploma militia that paid for the altarpiece. Finally, at the base is the predella, where ten scenes of the Passion are represented: the Oration in the Garden, the Betrayal, the Rapture, the Flagellation, the encounter with Caiaphas, the Way to Calvary with the cross, Crucifixion, Descent, Lamentation, and Resurrection, the side scenes are partially cut out and in the center there is a space where the tabernacle was probably located.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: How does Altarpiece of the Centenar de la Ploma explain its Characteristics?

The altarpiece measures 6.6 meters high and 5.5 meters wide and is made up of five vertical panels, among which the central one stands out for being the highest and widest. The technique used is tempera on wood and its style is International Gothic.The side panels narrate the legend of Sant Jordi through 16 scenes: the first scene shows angels dressing Sant Jordi in his armour, the second shows the town being frightened by the dragon and the population offering animals and people to feed him -lo, in the third Saint George meets the king and is asked to save the princess, the fourth is the saint walking the dragon now tamed and submissive, the fifth scene represents the baptism of the royal court after this event, the sixth scene shows the saint denouncing the Roman governor's devotion to pagan symbols, which causes his crucifixion in the following scene, in the eighth he continues his martyrdom by poisoning, and in the ninth we see how his bowels are opened by fill them with salt, the tenth scene shows Jesus appearing at night to comfort Saint George, scenes 11 and 12 show him being tortured with two wheels and sawn in half, in the 13th they put him in molten lead, 14 shows his captors offering him to surrender and accept his gods, when he refuses he is dragged naked down the panel in scene 15 and beheaded in scene 16. The moment when the saint defeats the dragon appears in the lower scene of the central panel, with the princess watching in the background. The scene above this one shows the Battle of El Puig, the two main characters are James I killing Zayyan (although James I was not present at the battle or engaged with the Muslim king) and Saint George King James and his horse wear the colours of the royal ensign, while Sant Jordi wears the clothing of the Centenary of the Feather. In the background, the rest of the knights arriving at the battle carrying several flags can be seen, among them the royal pennant and a flag with an eagle with open wings typical of Guillem d'Aguiló. The upper central scene shows an image of the Virgin Mary surrounded by angels. Each of the side panels is headed by one of the evangelists, while the central one is headed by Christ. In the alleys, there are twenty-five prophets and on the dust cover or bracelet the twelve apostles, in the upper central part of the dust cover appears the dove of the Holy Spirit, with the cross of Saint George on one side and a crossbow on the 'other, in reference to the Centenar de la Ploma militia that paid for the altarpiece. Finally, at the base is the predella, where ten scenes of the Passion are represented: the Oration in the Garden, the Betrayal, the Rapture, the Flagellation, the encounter with Caiaphas, the Way to Calvary with the cross, Crucifixion, Descent, Lamentation, and Resurrection, the side scenes are partially cut out and in the center there is a space where the tabernacle was probably located.

Category:Paintings in the Victoria and Albert Museum


Altarpiece of the Centenar de la Ploma

Prompt: In Altarpiece of the Centenar de la Ploma, how is the Characteristics discussed?

The altarpiece measures 6.6 meters high and 5.5 meters wide and is made up of five vertical panels, among which the central one stands out for being the highest and widest. The technique used is tempera on wood and its style is International Gothic.The side panels narrate the legend of Sant Jordi through 16 scenes: the first scene shows angels dressing Sant Jordi in his armour, the second shows the town being frightened by the dragon and the population offering animals and people to feed him -lo, in the third Saint George meets the king and is asked to save the princess, the fourth is the saint walking the dragon now tamed and submissive, the fifth scene represents the baptism of the royal court after this event, the sixth scene shows the saint denouncing the Roman governor's devotion to pagan symbols, which causes his crucifixion in the following scene, in the eighth he continues his martyrdom by poisoning, and in the ninth we see how his bowels are opened by fill them with salt, the tenth scene shows Jesus appearing at night to comfort Saint George, scenes 11 and 12 show him being tortured with two wheels and sawn in half, in the 13th they put him in molten lead, 14 shows his captors offering him to surrender and accept his gods, when he refuses he is dragged naked down the panel in scene 15 and beheaded in scene 16. The moment when the saint defeats the dragon appears in the lower scene of the central panel, with the princess watching in the background. The scene above this one shows the Battle of El Puig, the two main characters are James I killing Zayyan (although James I was not present at the battle or engaged with the Muslim king) and Saint George King James and his horse wear the colours of the royal ensign, while Sant Jordi wears the clothing of the Centenary of the Feather. In the background, the rest of the knights arriving at the battle carrying several flags can be seen, among them the royal pennant and a flag with an eagle with open wings typical of Guillem d'Aguiló. The upper central scene shows an image of the Virgin Mary surrounded by angels. Each of the side panels is headed by one of the evangelists, while the central one is headed by Christ. In the alleys, there are twenty-five prophets and on the dust cover or bracelet the twelve apostles, in the upper central part of the dust cover appears the dove of the Holy Spirit, with the cross of Saint George on one side and a crossbow on the 'other, in reference to the Centenar de la Ploma militia that paid for the altarpiece. Finally, at the base is the predella, where ten scenes of the Passion are represented: the Oration in the Garden, the Betrayal, the Rapture, the Flagellation, the encounter with Caiaphas, the Way to Calvary with the cross, Crucifixion, Descent, Lamentation, and Resurrection, the side scenes are partially cut out and in the center there is a space where the tabernacle was probably located.

Category:Paintings in the Victoria and Albert Museum


Lamentation of Christ (Dürer, Munich)

Prompt: Focus on Lamentation of Christ (Dürer, Munich) and explain the abstract.

Lamentation of Christ (also known as Glimm Lamentation) is an oil-on-panel painting of the common subject of the Lamentation of Christ by the German Renaissance artist Albrecht Dürer, executed around 1500 and now in the Alte Pinakothek of Munich, Germany.The work was commissioned by goldsmith Jakob Glimm as a memorial of his first wife, Margaret Holzmann, who had died in 1500.  The removal of later re-painting in 1924 showed the original figures of the donors (Glimm and his three children) and of the dead woman, depicted in far smaller proportions than the religious characters.

''Lamentation of Christ'' (Dürer, Nuremberg)

Category:Collection of the Alte Pinakothek

Category:Paintings of the Lamentation of Christ

Lamentation of Christ (Dürer, Nuremberg)


Lamentation of Christ (Dürer, Munich)

Prompt: Explain the abstract of this artwork, Lamentation of Christ (Dürer, Munich).

Lamentation of Christ (also known as Glimm Lamentation) is an oil-on-panel painting of the common subject of the Lamentation of Christ by the German Renaissance artist Albrecht Dürer, executed around 1500 and now in the Alte Pinakothek of Munich, Germany.The work was commissioned by goldsmith Jakob Glimm as a memorial of his first wife, Margaret Holzmann, who had died in 1500.  The removal of later re-painting in 1924 showed the original figures of the donors (Glimm and his three children) and of the dead woman, depicted in far smaller proportions than the religious characters.

''Lamentation of Christ'' (Dürer, Nuremberg)

Category:Collection of the Alte Pinakothek

Category:Paintings of the Lamentation of Christ

Lamentation of Christ (Dürer, Nuremberg)


Lamentation of Christ (Dürer, Munich)

Prompt: How does Lamentation of Christ (Dürer, Munich) explain its abstract?

Lamentation of Christ (also known as Glimm Lamentation) is an oil-on-panel painting of the common subject of the Lamentation of Christ by the German Renaissance artist Albrecht Dürer, executed around 1500 and now in the Alte Pinakothek of Munich, Germany.The work was commissioned by goldsmith Jakob Glimm as a memorial of his first wife, Margaret Holzmann, who had died in 1500.  The removal of later re-painting in 1924 showed the original figures of the donors (Glimm and his three children) and of the dead woman, depicted in far smaller proportions than the religious characters.

''Lamentation of Christ'' (Dürer, Nuremberg)

Category:Collection of the Alte Pinakothek

Category:Paintings of the Lamentation of Christ

Lamentation of Christ (Dürer, Nuremberg)


Lamentation of Christ (Dürer, Munich)

Prompt: In Lamentation of Christ (Dürer, Munich), how is the abstract discussed?

Lamentation of Christ (also known as Glimm Lamentation) is an oil-on-panel painting of the common subject of the Lamentation of Christ by the German Renaissance artist Albrecht Dürer, executed around 1500 and now in the Alte Pinakothek of Munich, Germany.The work was commissioned by goldsmith Jakob Glimm as a memorial of his first wife, Margaret Holzmann, who had died in 1500.  The removal of later re-painting in 1924 showed the original figures of the donors (Glimm and his three children) and of the dead woman, depicted in far smaller proportions than the religious characters.

''Lamentation of Christ'' (Dürer, Nuremberg)

Category:Collection of the Alte Pinakothek

Category:Paintings of the Lamentation of Christ

Lamentation of Christ (Dürer, Nuremberg)


Lamentation of Christ (Dürer, Munich)

Prompt: Focus on Lamentation of Christ (Dürer, Munich) and explain the Description.

The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and  distraught Mary.  In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.

''Lamentation of Christ'' (Dürer, Nuremberg)

Category:Collection of the Alte Pinakothek

Category:Paintings of the Lamentation of Christ

Lamentation of Christ (Dürer, Nuremberg)


Lamentation of Christ (Dürer, Munich)

Prompt: Explain the Description of this artwork, Lamentation of Christ (Dürer, Munich).

The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and  distraught Mary.  In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.

''Lamentation of Christ'' (Dürer, Nuremberg)

Category:Collection of the Alte Pinakothek

Category:Paintings of the Lamentation of Christ

Lamentation of Christ (Dürer, Nuremberg)


Lamentation of Christ (Dürer, Munich)

Prompt: How does Lamentation of Christ (Dürer, Munich) explain its Description?

The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and  distraught Mary.  In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.

''Lamentation of Christ'' (Dürer, Nuremberg)

Category:Collection of the Alte Pinakothek

Category:Paintings of the Lamentation of Christ

Lamentation of Christ (Dürer, Nuremberg)


Lamentation of Christ (Dürer, Munich)

Prompt: In Lamentation of Christ (Dürer, Munich), how is the Description discussed?

The painting shows the dead Jesus, held by Joseph of Arimathea and surrounded by the Pious Women, including an aged and  distraught Mary.  In the right part are three standing characters depicted on a diagonal line: from top, St. John the Evangelist, Mary Magdalene, and Nicodemus, the last two holding vases which contained balms used to prepare the corpse for the burial.

''Lamentation of Christ'' (Dürer, Nuremberg)

Category:Collection of the Alte Pinakothek

Category:Paintings of the Lamentation of Christ

Lamentation of Christ (Dürer, Nuremberg)


Present (Aitken)

Prompt: Focus on Present (Aitken) and explain the abstract.

Present, also known as Future, is a 1935 outdoor sculpture by Robert Ingersoll Aitken, located in front of the National Archives Building in Washington, D.C., in the United States. John Russell Pope served as the sculpture's architect and Edward H. Ratti served as its carver. The sculpture is made of Indiana limestone and measures approximately 20 x 8 x 12 feet, with a base approximately 12 x 12 x 15 feet. Present is a companion piece to Past, also located in front of the National Archives Building.

List of public art in Washington, D.C., Ward 6

Category:Outdoor sculptures in Washington, D.C.

Category:Sculptures of women in Washington, D.C.

Category:Limestone sculptures in Washington, D.C.

Category:1935 establishments in Washington, D.C.


Present (Aitken)

Prompt: Explain the abstract of this artwork, Present (Aitken).

Present, also known as Future, is a 1935 outdoor sculpture by Robert Ingersoll Aitken, located in front of the National Archives Building in Washington, D.C., in the United States. John Russell Pope served as the sculpture's architect and Edward H. Ratti served as its carver. The sculpture is made of Indiana limestone and measures approximately 20 x 8 x 12 feet, with a base approximately 12 x 12 x 15 feet. Present is a companion piece to Past, also located in front of the National Archives Building.

List of public art in Washington, D.C., Ward 6

Category:Outdoor sculptures in Washington, D.C.

Category:Sculptures of women in Washington, D.C.

Category:Limestone sculptures in Washington, D.C.

Category:1935 establishments in Washington, D.C.


Present (Aitken)

Prompt: How does Present (Aitken) explain its abstract?

Present, also known as Future, is a 1935 outdoor sculpture by Robert Ingersoll Aitken, located in front of the National Archives Building in Washington, D.C., in the United States. John Russell Pope served as the sculpture's architect and Edward H. Ratti served as its carver. The sculpture is made of Indiana limestone and measures approximately 20 x 8 x 12 feet, with a base approximately 12 x 12 x 15 feet. Present is a companion piece to Past, also located in front of the National Archives Building.

List of public art in Washington, D.C., Ward 6

Category:Outdoor sculptures in Washington, D.C.

Category:Sculptures of women in Washington, D.C.

Category:Limestone sculptures in Washington, D.C.

Category:1935 establishments in Washington, D.C.


Present (Aitken)

Prompt: In Present (Aitken), how is the abstract discussed?

Present, also known as Future, is a 1935 outdoor sculpture by Robert Ingersoll Aitken, located in front of the National Archives Building in Washington, D.C., in the United States. John Russell Pope served as the sculpture's architect and Edward H. Ratti served as its carver. The sculpture is made of Indiana limestone and measures approximately 20 x 8 x 12 feet, with a base approximately 12 x 12 x 15 feet. Present is a companion piece to Past, also located in front of the National Archives Building.

List of public art in Washington, D.C., Ward 6

Category:Outdoor sculptures in Washington, D.C.

Category:Sculptures of women in Washington, D.C.

Category:Limestone sculptures in Washington, D.C.

Category:1935 establishments in Washington, D.C.


Koa Kannon

Prompt: Focus on Koa Kannon and explain the abstract.

The Koa Kannon (興亜観音, Kōa Kannon, literally the “Raising Asia Kannon”) refers to a statue of Kannon, the bodhisattva of compassion, located atop Mount Izu in Atami, Shizuoka Prefecture, as well as to the temple, formally a religious corporation called the Reihaizan Koa Kannon, which is dedicated to it. Koa Kannon is from the same lineage as the Hokke Shu Jin-Monryu, a breakaway sect of Nichiren Buddhism based in Sanjo in Niigata Prefecture, but it is not formally affiliated with them and is the only independent Buddhist temple in Japan with its own unique history and rites. The temple admits all worshipers regardless of their religion.The temple is dedicated to all those who died in combat in the Second Sino-Japanese War but is especially known for interring the ashes of seven individuals executed as war criminals at a stone monument dedicated to the “seven warriors”.The current head priest is Sister Myojo Itami who is the third daughter of the first head priest Master Ninrei Itami and is a registered nun of Hokke Shu Jin-Monryu. Yasuaki Itami, the adopted son of Ninrei’s eldest daughter, now hospitalized former head priest Myotoku Itami, assists Myojo and is in charge of the temple’s administrative affairs. He is a priest of the Soto school.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

International Military Tribunal of the Far East


Koa Kannon

Prompt: Explain the abstract of this artwork, Koa Kannon.

The Koa Kannon (興亜観音, Kōa Kannon, literally the “Raising Asia Kannon”) refers to a statue of Kannon, the bodhisattva of compassion, located atop Mount Izu in Atami, Shizuoka Prefecture, as well as to the temple, formally a religious corporation called the Reihaizan Koa Kannon, which is dedicated to it. Koa Kannon is from the same lineage as the Hokke Shu Jin-Monryu, a breakaway sect of Nichiren Buddhism based in Sanjo in Niigata Prefecture, but it is not formally affiliated with them and is the only independent Buddhist temple in Japan with its own unique history and rites. The temple admits all worshipers regardless of their religion.The temple is dedicated to all those who died in combat in the Second Sino-Japanese War but is especially known for interring the ashes of seven individuals executed as war criminals at a stone monument dedicated to the “seven warriors”.The current head priest is Sister Myojo Itami who is the third daughter of the first head priest Master Ninrei Itami and is a registered nun of Hokke Shu Jin-Monryu. Yasuaki Itami, the adopted son of Ninrei’s eldest daughter, now hospitalized former head priest Myotoku Itami, assists Myojo and is in charge of the temple’s administrative affairs. He is a priest of the Soto school.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

International Military Tribunal of the Far East


Koa Kannon

Prompt: How does Koa Kannon explain its abstract?

The Koa Kannon (興亜観音, Kōa Kannon, literally the “Raising Asia Kannon”) refers to a statue of Kannon, the bodhisattva of compassion, located atop Mount Izu in Atami, Shizuoka Prefecture, as well as to the temple, formally a religious corporation called the Reihaizan Koa Kannon, which is dedicated to it. Koa Kannon is from the same lineage as the Hokke Shu Jin-Monryu, a breakaway sect of Nichiren Buddhism based in Sanjo in Niigata Prefecture, but it is not formally affiliated with them and is the only independent Buddhist temple in Japan with its own unique history and rites. The temple admits all worshipers regardless of their religion.The temple is dedicated to all those who died in combat in the Second Sino-Japanese War but is especially known for interring the ashes of seven individuals executed as war criminals at a stone monument dedicated to the “seven warriors”.The current head priest is Sister Myojo Itami who is the third daughter of the first head priest Master Ninrei Itami and is a registered nun of Hokke Shu Jin-Monryu. Yasuaki Itami, the adopted son of Ninrei’s eldest daughter, now hospitalized former head priest Myotoku Itami, assists Myojo and is in charge of the temple’s administrative affairs. He is a priest of the Soto school.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

International Military Tribunal of the Far East


Koa Kannon

Prompt: In Koa Kannon, how is the abstract discussed?

The Koa Kannon (興亜観音, Kōa Kannon, literally the “Raising Asia Kannon”) refers to a statue of Kannon, the bodhisattva of compassion, located atop Mount Izu in Atami, Shizuoka Prefecture, as well as to the temple, formally a religious corporation called the Reihaizan Koa Kannon, which is dedicated to it. Koa Kannon is from the same lineage as the Hokke Shu Jin-Monryu, a breakaway sect of Nichiren Buddhism based in Sanjo in Niigata Prefecture, but it is not formally affiliated with them and is the only independent Buddhist temple in Japan with its own unique history and rites. The temple admits all worshipers regardless of their religion.The temple is dedicated to all those who died in combat in the Second Sino-Japanese War but is especially known for interring the ashes of seven individuals executed as war criminals at a stone monument dedicated to the “seven warriors”.The current head priest is Sister Myojo Itami who is the third daughter of the first head priest Master Ninrei Itami and is a registered nun of Hokke Shu Jin-Monryu. Yasuaki Itami, the adopted son of Ninrei’s eldest daughter, now hospitalized former head priest Myotoku Itami, assists Myojo and is in charge of the temple’s administrative affairs. He is a priest of the Soto school.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

International Military Tribunal of the Far East


Koa Kannon

Prompt: In the context of Koa Kannon, explain the Origin of the Koa Kannon statue and the History.

General Iwane Matsui who commanded the Shanghai Expeditionary Force at the outbreak of the Second Sino-Japanese War built the Koa Kannon statue after retiring from the service in 1940 to honor the officers and men of both China and Japan who fell in battle in the name of consecrating equally both friend and enemy. The statue was made using clay from battlefields, including from the vicinity of Nanjing where Matsui served. On 24 February 1940 the consecration ceremony was performed in the presence of Tessui Oshima, a high-ranking Jodo Buddhist monk from Zojo-ji, and other distinguished figures. Then Matsui moved into a retreat he built nearby and he used to ascend the mountain every morning to give the kannon sutra.In 1944 another monument was erected called the “Bodhi for the Warriors Who Fell in Battle in the Great Pacific War” which honors all the war dead in the Pacific theater.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: Explain the Origin of the Koa Kannon statue about the History of this artwork, Koa Kannon.

General Iwane Matsui who commanded the Shanghai Expeditionary Force at the outbreak of the Second Sino-Japanese War built the Koa Kannon statue after retiring from the service in 1940 to honor the officers and men of both China and Japan who fell in battle in the name of consecrating equally both friend and enemy. The statue was made using clay from battlefields, including from the vicinity of Nanjing where Matsui served. On 24 February 1940 the consecration ceremony was performed in the presence of Tessui Oshima, a high-ranking Jodo Buddhist monk from Zojo-ji, and other distinguished figures. Then Matsui moved into a retreat he built nearby and he used to ascend the mountain every morning to give the kannon sutra.In 1944 another monument was erected called the “Bodhi for the Warriors Who Fell in Battle in the Great Pacific War” which honors all the war dead in the Pacific theater.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: In Koa Kannon, how is the Origin of the Koa Kannon statue of the History explained?

General Iwane Matsui who commanded the Shanghai Expeditionary Force at the outbreak of the Second Sino-Japanese War built the Koa Kannon statue after retiring from the service in 1940 to honor the officers and men of both China and Japan who fell in battle in the name of consecrating equally both friend and enemy. The statue was made using clay from battlefields, including from the vicinity of Nanjing where Matsui served. On 24 February 1940 the consecration ceremony was performed in the presence of Tessui Oshima, a high-ranking Jodo Buddhist monk from Zojo-ji, and other distinguished figures. Then Matsui moved into a retreat he built nearby and he used to ascend the mountain every morning to give the kannon sutra.In 1944 another monument was erected called the “Bodhi for the Warriors Who Fell in Battle in the Great Pacific War” which honors all the war dead in the Pacific theater.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: Describe the characteristics of the Origin of the Koa Kannon statue in Koa Kannon's History.

General Iwane Matsui who commanded the Shanghai Expeditionary Force at the outbreak of the Second Sino-Japanese War built the Koa Kannon statue after retiring from the service in 1940 to honor the officers and men of both China and Japan who fell in battle in the name of consecrating equally both friend and enemy. The statue was made using clay from battlefields, including from the vicinity of Nanjing where Matsui served. On 24 February 1940 the consecration ceremony was performed in the presence of Tessui Oshima, a high-ranking Jodo Buddhist monk from Zojo-ji, and other distinguished figures. Then Matsui moved into a retreat he built nearby and he used to ascend the mountain every morning to give the kannon sutra.In 1944 another monument was erected called the “Bodhi for the Warriors Who Fell in Battle in the Great Pacific War” which honors all the war dead in the Pacific theater.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: In the context of Koa Kannon, explain the Enshrinement of war criminals and the History.

On 23 December 1948, six men including Hideki Tojo were executed by the International Military Tribunal of the Far East as “Class A” war criminals alongside Iwane Matsui, and were cremated at Kuboyama Crematorium in Yokohama. The American army disposed of most of the ashes, but one urn was secretly collected up by a group including Miyoshi Tobita, the manager of Kuboyama Crematorium, and Shohei Sanmonji, defense counsel to Kuniaki Koiso, and on 3 May 1949 this urn was carried to the Koa Kannon temple due to its links with Matsui. Right away the head priest Master Ninrei Itami intuitively understood that these were the ashes of the seven war criminals and hid them until he thought the time was right. Finally on 19 April 1959 the stone monument of the seven warriors was erected, with the inscription written personally by former prime minister Shigeru Yoshida, and the ashes were buried underneath it. However, in 1960 one incense container of these ashes was taken to be buried separately at the “Tomb of the Seven Warriors Who Died for their Country” located on Mount Sangane at Nishio, then part of Hazu District, in Aichi Prefecture.In addition to the stone monument of the seven warriors and the Bodhi monument put up in 1944, at the same site there is now also the “Memorial Stone of the 1,068 Executed Martyrs of the Great Pacific War”, which enshrines Class B and C war criminals who were executed or died in prison and has been likened to a “little Yasukuni Shrine”.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals


Koa Kannon

Prompt: Explain the Enshrinement of war criminals about the History of this artwork, Koa Kannon.

On 23 December 1948, six men including Hideki Tojo were executed by the International Military Tribunal of the Far East as “Class A” war criminals alongside Iwane Matsui, and were cremated at Kuboyama Crematorium in Yokohama. The American army disposed of most of the ashes, but one urn was secretly collected up by a group including Miyoshi Tobita, the manager of Kuboyama Crematorium, and Shohei Sanmonji, defense counsel to Kuniaki Koiso, and on 3 May 1949 this urn was carried to the Koa Kannon temple due to its links with Matsui. Right away the head priest Master Ninrei Itami intuitively understood that these were the ashes of the seven war criminals and hid them until he thought the time was right. Finally on 19 April 1959 the stone monument of the seven warriors was erected, with the inscription written personally by former prime minister Shigeru Yoshida, and the ashes were buried underneath it. However, in 1960 one incense container of these ashes was taken to be buried separately at the “Tomb of the Seven Warriors Who Died for their Country” located on Mount Sangane at Nishio, then part of Hazu District, in Aichi Prefecture.In addition to the stone monument of the seven warriors and the Bodhi monument put up in 1944, at the same site there is now also the “Memorial Stone of the 1,068 Executed Martyrs of the Great Pacific War”, which enshrines Class B and C war criminals who were executed or died in prison and has been likened to a “little Yasukuni Shrine”.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals


Koa Kannon

Prompt: In Koa Kannon, how is the Enshrinement of war criminals of the History explained?

On 23 December 1948, six men including Hideki Tojo were executed by the International Military Tribunal of the Far East as “Class A” war criminals alongside Iwane Matsui, and were cremated at Kuboyama Crematorium in Yokohama. The American army disposed of most of the ashes, but one urn was secretly collected up by a group including Miyoshi Tobita, the manager of Kuboyama Crematorium, and Shohei Sanmonji, defense counsel to Kuniaki Koiso, and on 3 May 1949 this urn was carried to the Koa Kannon temple due to its links with Matsui. Right away the head priest Master Ninrei Itami intuitively understood that these were the ashes of the seven war criminals and hid them until he thought the time was right. Finally on 19 April 1959 the stone monument of the seven warriors was erected, with the inscription written personally by former prime minister Shigeru Yoshida, and the ashes were buried underneath it. However, in 1960 one incense container of these ashes was taken to be buried separately at the “Tomb of the Seven Warriors Who Died for their Country” located on Mount Sangane at Nishio, then part of Hazu District, in Aichi Prefecture.In addition to the stone monument of the seven warriors and the Bodhi monument put up in 1944, at the same site there is now also the “Memorial Stone of the 1,068 Executed Martyrs of the Great Pacific War”, which enshrines Class B and C war criminals who were executed or died in prison and has been likened to a “little Yasukuni Shrine”.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals


Koa Kannon

Prompt: Describe the characteristics of the Enshrinement of war criminals in Koa Kannon's History.

On 23 December 1948, six men including Hideki Tojo were executed by the International Military Tribunal of the Far East as “Class A” war criminals alongside Iwane Matsui, and were cremated at Kuboyama Crematorium in Yokohama. The American army disposed of most of the ashes, but one urn was secretly collected up by a group including Miyoshi Tobita, the manager of Kuboyama Crematorium, and Shohei Sanmonji, defense counsel to Kuniaki Koiso, and on 3 May 1949 this urn was carried to the Koa Kannon temple due to its links with Matsui. Right away the head priest Master Ninrei Itami intuitively understood that these were the ashes of the seven war criminals and hid them until he thought the time was right. Finally on 19 April 1959 the stone monument of the seven warriors was erected, with the inscription written personally by former prime minister Shigeru Yoshida, and the ashes were buried underneath it. However, in 1960 one incense container of these ashes was taken to be buried separately at the “Tomb of the Seven Warriors Who Died for their Country” located on Mount Sangane at Nishio, then part of Hazu District, in Aichi Prefecture.In addition to the stone monument of the seven warriors and the Bodhi monument put up in 1944, at the same site there is now also the “Memorial Stone of the 1,068 Executed Martyrs of the Great Pacific War”, which enshrines Class B and C war criminals who were executed or died in prison and has been likened to a “little Yasukuni Shrine”.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals


Koa Kannon

Prompt: In the context of Koa Kannon, explain the 1971 bombing and the History.

On 12 December 1971 the East Asia Anti-Japan Armed Front, an extremist group, tried to blow up the statue of the Koa Kannon, the stone monument of the seven warriors, and the Memorial Stone of the 1,068 Executed Martyrs of the Great Pacific War, which they viewed as symbols of Japanese imperialism. The stone monument of the seven warriors was destroyed but because the fuse was short the other two escaped destruction. The monument which was destroyed was restored afterwards by volunteers.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: Explain the 1971 bombing about the History of this artwork, Koa Kannon.

On 12 December 1971 the East Asia Anti-Japan Armed Front, an extremist group, tried to blow up the statue of the Koa Kannon, the stone monument of the seven warriors, and the Memorial Stone of the 1,068 Executed Martyrs of the Great Pacific War, which they viewed as symbols of Japanese imperialism. The stone monument of the seven warriors was destroyed but because the fuse was short the other two escaped destruction. The monument which was destroyed was restored afterwards by volunteers.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: In Koa Kannon, how is the 1971 bombing of the History explained?

On 12 December 1971 the East Asia Anti-Japan Armed Front, an extremist group, tried to blow up the statue of the Koa Kannon, the stone monument of the seven warriors, and the Memorial Stone of the 1,068 Executed Martyrs of the Great Pacific War, which they viewed as symbols of Japanese imperialism. The stone monument of the seven warriors was destroyed but because the fuse was short the other two escaped destruction. The monument which was destroyed was restored afterwards by volunteers.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: Describe the characteristics of the 1971 bombing in Koa Kannon's History.

On 12 December 1971 the East Asia Anti-Japan Armed Front, an extremist group, tried to blow up the statue of the Koa Kannon, the stone monument of the seven warriors, and the Memorial Stone of the 1,068 Executed Martyrs of the Great Pacific War, which they viewed as symbols of Japanese imperialism. The stone monument of the seven warriors was destroyed but because the fuse was short the other two escaped destruction. The monument which was destroyed was restored afterwards by volunteers.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: Focus on Koa Kannon and explain the Support.

Unlike a typical temple, Koa Kannon has no graves and thus no patrons under the danka system except for the surviving family of the seven war criminals. Koa Kannon is always requesting general help since the only thing maintaining the temple is offering money from visitors, volunteers, and members of support groups. One such association is the Koa Kannon Support Group, which was founded in 1942 by its first president Iwane Matsui and is preserved primarily by local devotees in Atami.There was in addition the Society to Protect the Koa Kannon which was established in 1994, but due to a scandal involving some of its board members it dissolved in March 2011.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: Explain the Support of this artwork, Koa Kannon.

Unlike a typical temple, Koa Kannon has no graves and thus no patrons under the danka system except for the surviving family of the seven war criminals. Koa Kannon is always requesting general help since the only thing maintaining the temple is offering money from visitors, volunteers, and members of support groups. One such association is the Koa Kannon Support Group, which was founded in 1942 by its first president Iwane Matsui and is preserved primarily by local devotees in Atami.There was in addition the Society to Protect the Koa Kannon which was established in 1994, but due to a scandal involving some of its board members it dissolved in March 2011.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: How does Koa Kannon explain its Support?

Unlike a typical temple, Koa Kannon has no graves and thus no patrons under the danka system except for the surviving family of the seven war criminals. Koa Kannon is always requesting general help since the only thing maintaining the temple is offering money from visitors, volunteers, and members of support groups. One such association is the Koa Kannon Support Group, which was founded in 1942 by its first president Iwane Matsui and is preserved primarily by local devotees in Atami.There was in addition the Society to Protect the Koa Kannon which was established in 1994, but due to a scandal involving some of its board members it dissolved in March 2011.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: In Koa Kannon, how is the Support discussed?

Unlike a typical temple, Koa Kannon has no graves and thus no patrons under the danka system except for the surviving family of the seven war criminals. Koa Kannon is always requesting general help since the only thing maintaining the temple is offering money from visitors, volunteers, and members of support groups. One such association is the Koa Kannon Support Group, which was founded in 1942 by its first president Iwane Matsui and is preserved primarily by local devotees in Atami.There was in addition the Society to Protect the Koa Kannon which was established in 1994, but due to a scandal involving some of its board members it dissolved in March 2011.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: Focus on Koa Kannon and explain the Directions.

At JR Atami Station take the Izu Tokai Bus bound for Yugawara Station, get off at the “Koa Kannon” stop, and walk to the temple. At JR Yugawara Station there is also a bus going in the direction  of Atami and Mount Izu.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: Explain the Directions of this artwork, Koa Kannon.

At JR Atami Station take the Izu Tokai Bus bound for Yugawara Station, get off at the “Koa Kannon” stop, and walk to the temple. At JR Yugawara Station there is also a bus going in the direction  of Atami and Mount Izu.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: How does Koa Kannon explain its Directions?

At JR Atami Station take the Izu Tokai Bus bound for Yugawara Station, get off at the “Koa Kannon” stop, and walk to the temple. At JR Yugawara Station there is also a bus going in the direction  of Atami and Mount Izu.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Koa Kannon

Prompt: In Koa Kannon, how is the Directions discussed?

At JR Atami Station take the Izu Tokai Bus bound for Yugawara Station, get off at the “Koa Kannon” stop, and walk to the temple. At JR Yugawara Station there is also a bus going in the direction  of Atami and Mount Izu.

International Military Tribunal for the Far East

Category:Buddhist temples in Shizuoka Prefecture

seven individuals executed as war criminals

International Military Tribunal of the Far East


Tri It

Prompt: Focus on Tri It and explain the abstract.

Tri It (stylized as TRI IT and also known as the TriMet Mural) is an outdoor 2015 mural by Blaine Fontana, painted outside the TriMet Bus Maintenance Facility in Portland, Oregon, in the United States.

Southeast 17th Avenue and Holgate Boulevard MAX Station

File:Trimet building at SE 17th and Holgate.jpg

Southeast 17th Avenue and Holgate Boulevard station


Tri It

Prompt: Explain the abstract of this artwork, Tri It.

Tri It (stylized as TRI IT and also known as the TriMet Mural) is an outdoor 2015 mural by Blaine Fontana, painted outside the TriMet Bus Maintenance Facility in Portland, Oregon, in the United States.

Southeast 17th Avenue and Holgate Boulevard MAX Station

File:Trimet building at SE 17th and Holgate.jpg

Southeast 17th Avenue and Holgate Boulevard station


Tri It

Prompt: How does Tri It explain its abstract?

Tri It (stylized as TRI IT and also known as the TriMet Mural) is an outdoor 2015 mural by Blaine Fontana, painted outside the TriMet Bus Maintenance Facility in Portland, Oregon, in the United States.

Southeast 17th Avenue and Holgate Boulevard MAX Station

File:Trimet building at SE 17th and Holgate.jpg

Southeast 17th Avenue and Holgate Boulevard station


Tri It

Prompt: In Tri It, how is the abstract discussed?

Tri It (stylized as TRI IT and also known as the TriMet Mural) is an outdoor 2015 mural by Blaine Fontana, painted outside the TriMet Bus Maintenance Facility in Portland, Oregon, in the United States.

Southeast 17th Avenue and Holgate Boulevard MAX Station

File:Trimet building at SE 17th and Holgate.jpg

Southeast 17th Avenue and Holgate Boulevard station


Tri It

Prompt: Focus on Tri It and explain the Description.

Tri It is a 1,250-square-foot mural by Blaine Fontana, with assistance from Gage Hamilton, David Rice, and Zach Yarrington, painted outside the TriMet Bus Maintenance Facility and across from the MAX Orange Line's Southeast 17th Avenue and Holgate Boulevard MAX Station in Portland's Brooklyn neighborhood. It depicts the history of the city's public transit. According to TriMet, a public agency that operates mass transit in a region that spans most of the Portland metropolitan area, the painting portrays the agency's "central role in local public transit history at the site where various transportation companies have served the public for over 100 years. Despite the predominant car culture, the region's transportation system has long been a beacon of pioneering spirit, inspiring the nation with its bicycle, pedestrian, streetcar, bus, and light rail connectivity."The wording used for the mural's title, a play on words based on the transit agency's name, was used by TriMet in the late 1970s as an advertising slogan (written as "Tri-It", because the agency's name included a hyphen at that time).The mural is a timeline and moves forward chronologically, beginning on the east end of the wall along Southeast Holgate Boulevard, which depicts the westward expansion that began prior to 1872. Sections of the mural illustrate Portland's public transit improvements. TriMet logos and historical milestones are also displayed. The mural ends around the corner on Southeast 17th Avenue with a depiction of Tilikum Crossing (2015). The artist has said of the piece, "Like most of my murals, TRI IT is about making a positive impact and connecting people. When a piece can spark an ongoing dialogue, it brings pride and connection to a neighborhood. I hope TRI IT helps create a visual identity for Brooklyn that the community is proud to call its own."

File:Trimet building at SE 17th and Holgate.jpg

Southeast 17th Avenue and Holgate Boulevard station


Tri It

Prompt: Explain the Description of this artwork, Tri It.

Tri It is a 1,250-square-foot mural by Blaine Fontana, with assistance from Gage Hamilton, David Rice, and Zach Yarrington, painted outside the TriMet Bus Maintenance Facility and across from the MAX Orange Line's Southeast 17th Avenue and Holgate Boulevard MAX Station in Portland's Brooklyn neighborhood. It depicts the history of the city's public transit. According to TriMet, a public agency that operates mass transit in a region that spans most of the Portland metropolitan area, the painting portrays the agency's "central role in local public transit history at the site where various transportation companies have served the public for over 100 years. Despite the predominant car culture, the region's transportation system has long been a beacon of pioneering spirit, inspiring the nation with its bicycle, pedestrian, streetcar, bus, and light rail connectivity."The wording used for the mural's title, a play on words based on the transit agency's name, was used by TriMet in the late 1970s as an advertising slogan (written as "Tri-It", because the agency's name included a hyphen at that time).The mural is a timeline and moves forward chronologically, beginning on the east end of the wall along Southeast Holgate Boulevard, which depicts the westward expansion that began prior to 1872. Sections of the mural illustrate Portland's public transit improvements. TriMet logos and historical milestones are also displayed. The mural ends around the corner on Southeast 17th Avenue with a depiction of Tilikum Crossing (2015). The artist has said of the piece, "Like most of my murals, TRI IT is about making a positive impact and connecting people. When a piece can spark an ongoing dialogue, it brings pride and connection to a neighborhood. I hope TRI IT helps create a visual identity for Brooklyn that the community is proud to call its own."

File:Trimet building at SE 17th and Holgate.jpg

Southeast 17th Avenue and Holgate Boulevard station


Tri It

Prompt: How does Tri It explain its Description?

Tri It is a 1,250-square-foot mural by Blaine Fontana, with assistance from Gage Hamilton, David Rice, and Zach Yarrington, painted outside the TriMet Bus Maintenance Facility and across from the MAX Orange Line's Southeast 17th Avenue and Holgate Boulevard MAX Station in Portland's Brooklyn neighborhood. It depicts the history of the city's public transit. According to TriMet, a public agency that operates mass transit in a region that spans most of the Portland metropolitan area, the painting portrays the agency's "central role in local public transit history at the site where various transportation companies have served the public for over 100 years. Despite the predominant car culture, the region's transportation system has long been a beacon of pioneering spirit, inspiring the nation with its bicycle, pedestrian, streetcar, bus, and light rail connectivity."The wording used for the mural's title, a play on words based on the transit agency's name, was used by TriMet in the late 1970s as an advertising slogan (written as "Tri-It", because the agency's name included a hyphen at that time).The mural is a timeline and moves forward chronologically, beginning on the east end of the wall along Southeast Holgate Boulevard, which depicts the westward expansion that began prior to 1872. Sections of the mural illustrate Portland's public transit improvements. TriMet logos and historical milestones are also displayed. The mural ends around the corner on Southeast 17th Avenue with a depiction of Tilikum Crossing (2015). The artist has said of the piece, "Like most of my murals, TRI IT is about making a positive impact and connecting people. When a piece can spark an ongoing dialogue, it brings pride and connection to a neighborhood. I hope TRI IT helps create a visual identity for Brooklyn that the community is proud to call its own."

File:Trimet building at SE 17th and Holgate.jpg

Southeast 17th Avenue and Holgate Boulevard station


Tri It

Prompt: In Tri It, how is the Description discussed?

Tri It is a 1,250-square-foot mural by Blaine Fontana, with assistance from Gage Hamilton, David Rice, and Zach Yarrington, painted outside the TriMet Bus Maintenance Facility and across from the MAX Orange Line's Southeast 17th Avenue and Holgate Boulevard MAX Station in Portland's Brooklyn neighborhood. It depicts the history of the city's public transit. According to TriMet, a public agency that operates mass transit in a region that spans most of the Portland metropolitan area, the painting portrays the agency's "central role in local public transit history at the site where various transportation companies have served the public for over 100 years. Despite the predominant car culture, the region's transportation system has long been a beacon of pioneering spirit, inspiring the nation with its bicycle, pedestrian, streetcar, bus, and light rail connectivity."The wording used for the mural's title, a play on words based on the transit agency's name, was used by TriMet in the late 1970s as an advertising slogan (written as "Tri-It", because the agency's name included a hyphen at that time).The mural is a timeline and moves forward chronologically, beginning on the east end of the wall along Southeast Holgate Boulevard, which depicts the westward expansion that began prior to 1872. Sections of the mural illustrate Portland's public transit improvements. TriMet logos and historical milestones are also displayed. The mural ends around the corner on Southeast 17th Avenue with a depiction of Tilikum Crossing (2015). The artist has said of the piece, "Like most of my murals, TRI IT is about making a positive impact and connecting people. When a piece can spark an ongoing dialogue, it brings pride and connection to a neighborhood. I hope TRI IT helps create a visual identity for Brooklyn that the community is proud to call its own."

File:Trimet building at SE 17th and Holgate.jpg

Southeast 17th Avenue and Holgate Boulevard station


Allegory of Patience (Vasari)

Prompt: Focus on Allegory of Patience (Vasari) and explain the abstract.

Allegory of Patience (Italian: L'Allegoria della Pazienza) is a painting of c. 1552 by Giorgio Vasari, with input from Michelangelo, for the Bishop of Arezzo Bernadetto Minerbetti.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: Explain the abstract of this artwork, Allegory of Patience (Vasari).

Allegory of Patience (Italian: L'Allegoria della Pazienza) is a painting of c. 1552 by Giorgio Vasari, with input from Michelangelo, for the Bishop of Arezzo Bernadetto Minerbetti.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: How does Allegory of Patience (Vasari) explain its abstract?

Allegory of Patience (Italian: L'Allegoria della Pazienza) is a painting of c. 1552 by Giorgio Vasari, with input from Michelangelo, for the Bishop of Arezzo Bernadetto Minerbetti.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: In Allegory of Patience (Vasari), how is the abstract discussed?

Allegory of Patience (Italian: L'Allegoria della Pazienza) is a painting of c. 1552 by Giorgio Vasari, with input from Michelangelo, for the Bishop of Arezzo Bernadetto Minerbetti.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: Focus on Allegory of Patience (Vasari) and explain the Description.

The painting depicts a personification of Patience. The semi-nude female figure, her arms held tight across her body perhaps in modesty or "huddling" and "shivering" in the cold, gazes down watching as a water clock slowly erodes a stone inscribed with the Latin DIVTVRNA TOLERANTIA or "abiding patience", which is likely to be a reference to Cicero's De Inventione. The landscape behind, with buildings but unfigured, and in "frostbitten turquoise", is seen inverted by refraction in the water vessel. The figure's braided hair gleams in the light, against a backdrop of a moody and sombre sky. According to the National Gallery, "the monumentality of the figure and iridescent colours are indebted to Michelangelo"; Matthias Wivel (a curator at that gallery) highlights also the "emotional exposure [Michelangelo] espoused".

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: Explain the Description of this artwork, Allegory of Patience (Vasari).

The painting depicts a personification of Patience. The semi-nude female figure, her arms held tight across her body perhaps in modesty or "huddling" and "shivering" in the cold, gazes down watching as a water clock slowly erodes a stone inscribed with the Latin DIVTVRNA TOLERANTIA or "abiding patience", which is likely to be a reference to Cicero's De Inventione. The landscape behind, with buildings but unfigured, and in "frostbitten turquoise", is seen inverted by refraction in the water vessel. The figure's braided hair gleams in the light, against a backdrop of a moody and sombre sky. According to the National Gallery, "the monumentality of the figure and iridescent colours are indebted to Michelangelo"; Matthias Wivel (a curator at that gallery) highlights also the "emotional exposure [Michelangelo] espoused".

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: How does Allegory of Patience (Vasari) explain its Description?

The painting depicts a personification of Patience. The semi-nude female figure, her arms held tight across her body perhaps in modesty or "huddling" and "shivering" in the cold, gazes down watching as a water clock slowly erodes a stone inscribed with the Latin DIVTVRNA TOLERANTIA or "abiding patience", which is likely to be a reference to Cicero's De Inventione. The landscape behind, with buildings but unfigured, and in "frostbitten turquoise", is seen inverted by refraction in the water vessel. The figure's braided hair gleams in the light, against a backdrop of a moody and sombre sky. According to the National Gallery, "the monumentality of the figure and iridescent colours are indebted to Michelangelo"; Matthias Wivel (a curator at that gallery) highlights also the "emotional exposure [Michelangelo] espoused".

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: In Allegory of Patience (Vasari), how is the Description discussed?

The painting depicts a personification of Patience. The semi-nude female figure, her arms held tight across her body perhaps in modesty or "huddling" and "shivering" in the cold, gazes down watching as a water clock slowly erodes a stone inscribed with the Latin DIVTVRNA TOLERANTIA or "abiding patience", which is likely to be a reference to Cicero's De Inventione. The landscape behind, with buildings but unfigured, and in "frostbitten turquoise", is seen inverted by refraction in the water vessel. The figure's braided hair gleams in the light, against a backdrop of a moody and sombre sky. According to the National Gallery, "the monumentality of the figure and iridescent colours are indebted to Michelangelo"; Matthias Wivel (a curator at that gallery) highlights also the "emotional exposure [Michelangelo] espoused".

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: Focus on Allegory of Patience (Vasari) and explain the Correspondence.

In a copy of a letter from the artist dated 14 November 1551 made by his nephew Giorgio Vasari the Younger, Vasari informed his patron Bernadetto Minerbetti, Bishop of Arezzo (Vasari's own home town), of his meetings with Michelangelo to agree a suitable representation of Patience. While the accompanying drawing is now lost, the letter describes in some detail a female figure "of middle age", half-clad so as to appear midway between Riches and Poverty, bound to a stone by her foot, "to give less offence to her more noble parts", but with her arms free, so that it is within her power to free herself, yet preferring instead to signal with them that she will wait till the water wears away the stone and thus sets her free. While in respect of the chain, the Allegory in the Palazzo Pitti first attributed to Vasari by Hermann Voss seemingly corresponds more closely to this vision, the presence of the Latin phrase (with a pentimento), selected with input from Annibale Caro, the very absence of physical bonds, emphasizing her choice and virtù, and the urn's clear function as a clepsydra help contribute to the identification.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: Explain the Correspondence of this artwork, Allegory of Patience (Vasari).

In a copy of a letter from the artist dated 14 November 1551 made by his nephew Giorgio Vasari the Younger, Vasari informed his patron Bernadetto Minerbetti, Bishop of Arezzo (Vasari's own home town), of his meetings with Michelangelo to agree a suitable representation of Patience. While the accompanying drawing is now lost, the letter describes in some detail a female figure "of middle age", half-clad so as to appear midway between Riches and Poverty, bound to a stone by her foot, "to give less offence to her more noble parts", but with her arms free, so that it is within her power to free herself, yet preferring instead to signal with them that she will wait till the water wears away the stone and thus sets her free. While in respect of the chain, the Allegory in the Palazzo Pitti first attributed to Vasari by Hermann Voss seemingly corresponds more closely to this vision, the presence of the Latin phrase (with a pentimento), selected with input from Annibale Caro, the very absence of physical bonds, emphasizing her choice and virtù, and the urn's clear function as a clepsydra help contribute to the identification.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: How does Allegory of Patience (Vasari) explain its Correspondence?

In a copy of a letter from the artist dated 14 November 1551 made by his nephew Giorgio Vasari the Younger, Vasari informed his patron Bernadetto Minerbetti, Bishop of Arezzo (Vasari's own home town), of his meetings with Michelangelo to agree a suitable representation of Patience. While the accompanying drawing is now lost, the letter describes in some detail a female figure "of middle age", half-clad so as to appear midway between Riches and Poverty, bound to a stone by her foot, "to give less offence to her more noble parts", but with her arms free, so that it is within her power to free herself, yet preferring instead to signal with them that she will wait till the water wears away the stone and thus sets her free. While in respect of the chain, the Allegory in the Palazzo Pitti first attributed to Vasari by Hermann Voss seemingly corresponds more closely to this vision, the presence of the Latin phrase (with a pentimento), selected with input from Annibale Caro, the very absence of physical bonds, emphasizing her choice and virtù, and the urn's clear function as a clepsydra help contribute to the identification.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: In Allegory of Patience (Vasari), how is the Correspondence discussed?

In a copy of a letter from the artist dated 14 November 1551 made by his nephew Giorgio Vasari the Younger, Vasari informed his patron Bernadetto Minerbetti, Bishop of Arezzo (Vasari's own home town), of his meetings with Michelangelo to agree a suitable representation of Patience. While the accompanying drawing is now lost, the letter describes in some detail a female figure "of middle age", half-clad so as to appear midway between Riches and Poverty, bound to a stone by her foot, "to give less offence to her more noble parts", but with her arms free, so that it is within her power to free herself, yet preferring instead to signal with them that she will wait till the water wears away the stone and thus sets her free. While in respect of the chain, the Allegory in the Palazzo Pitti first attributed to Vasari by Hermann Voss seemingly corresponds more closely to this vision, the presence of the Latin phrase (with a pentimento), selected with input from Annibale Caro, the very absence of physical bonds, emphasizing her choice and virtù, and the urn's clear function as a clepsydra help contribute to the identification.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects


Allegory of Patience (Vasari)

Prompt: Focus on Allegory of Patience (Vasari) and explain the Provenance.

The painting was acquired by the investor Gary Klesch and his wife Anita and identified as Vasari's Allegory of Patience by Carlo Falciani, an art historian at the Accademia di Belle Arti di Firenze.

Category:Paintings in the National Gallery, London

Roman Catholic Diocese of Arezzo-Cortona-Sansepolcro

Lives of the Most Excellent Painters, Sculptors, and Architects