Tomb of Karl Marx

Prompt: Explain the History of this artwork, Tomb of Karl Marx.

Marx moved to London as a political exile in June 1849. Living originally in Soho, he moved in 1875 to Maitland Park Road, in the north London area of Belsize Park, and this remained his home until his death in 1883. During this period, Marx wrote some of his most notable works, including The Eighteenth Brumaire of Louis Napoleon and Das Kapital. Throughout his time in London, Marx lived in financially straitened circumstances and was heavily reliant on the support of his friend and collaborator Friedrich Engels. Marx died on the afternoon of 14 March 1883 from a combination of bronchitis and pleurisy, exacerbated by an abscess on his lung. He was buried on the following Saturday, at Highgate Cemetery, in the grave prepared for his wife who had died eighteen months previously. Engels spoke the eulogy at the funeral.At least thirteen named individuals attended the funeral. They were Engels, Eleanor Marx, Edward Aveling, Paul Lafargue, Charles Longuet, Helene Demuth, Wilhelm Liebknecht, Gottlieb Lemke, Frederich Lessner, Georg Lochner, Sir Ray Lankester, Carl Schorlemmer and Ernest Radford. A contemporary newspaper account claims that 25 to 30 relatives and friends attended the funeral. A writer in The Graphic noted that, 'By a strange blunder ...his death was not announced for two days, and then as having taken place at Paris. Next day the correction came from Paris; and when his friends and followers hastened to his house in Haverstock Hill, to learn the time and place of burial, they learned that he was already in the cold ground. But for this secresy [sic] and haste, a great popular demonstration would undoubtedly have been held over his grave'.In 1954, the Marx Memorial Committee, with the agreement of Frederick and Robert-Jean Longuet, Marx's great-grandsons, applied to the Home Office for an exhumation licence allowing the bodies of Marx, his wife, other family members and the Marxs’ housekeeper Helene Demuth to be disinterred and reburied at a new site, some 100 yards from the original graves. The reburials took place during the night of 26/27 November 1954. The reburials were the precursor to the construction of the Karl Marx tomb, designed by Laurence Bradshaw and funded by the Communist Party of Great Britain. The unveiling ceremony on 15 March 1956 was led by the Party's General Secretary, Harry Pollit.Since its construction, the tomb has become a place of veneration for Marx's followers, including some, such as the anti-apartheid activist Yusuf Dadoo and the founder of the Notting Hill Carnival Claudia Jones, who have been buried nearby.The tomb is owned by the Marx Grave Trust. The Friends of Highgate Cemetery Trust, which owns the cemetery, charges an entrance fee to the cemetery to cover the costs of upkeep and maintenance; this has generated some controversy. Marx's grave is among the most visited sites at Highgate and has been described as "one of the most recognisable graves in the world".

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: How does Tomb of Karl Marx explain its History?

Marx moved to London as a political exile in June 1849. Living originally in Soho, he moved in 1875 to Maitland Park Road, in the north London area of Belsize Park, and this remained his home until his death in 1883. During this period, Marx wrote some of his most notable works, including The Eighteenth Brumaire of Louis Napoleon and Das Kapital. Throughout his time in London, Marx lived in financially straitened circumstances and was heavily reliant on the support of his friend and collaborator Friedrich Engels. Marx died on the afternoon of 14 March 1883 from a combination of bronchitis and pleurisy, exacerbated by an abscess on his lung. He was buried on the following Saturday, at Highgate Cemetery, in the grave prepared for his wife who had died eighteen months previously. Engels spoke the eulogy at the funeral.At least thirteen named individuals attended the funeral. They were Engels, Eleanor Marx, Edward Aveling, Paul Lafargue, Charles Longuet, Helene Demuth, Wilhelm Liebknecht, Gottlieb Lemke, Frederich Lessner, Georg Lochner, Sir Ray Lankester, Carl Schorlemmer and Ernest Radford. A contemporary newspaper account claims that 25 to 30 relatives and friends attended the funeral. A writer in The Graphic noted that, 'By a strange blunder ...his death was not announced for two days, and then as having taken place at Paris. Next day the correction came from Paris; and when his friends and followers hastened to his house in Haverstock Hill, to learn the time and place of burial, they learned that he was already in the cold ground. But for this secresy [sic] and haste, a great popular demonstration would undoubtedly have been held over his grave'.In 1954, the Marx Memorial Committee, with the agreement of Frederick and Robert-Jean Longuet, Marx's great-grandsons, applied to the Home Office for an exhumation licence allowing the bodies of Marx, his wife, other family members and the Marxs’ housekeeper Helene Demuth to be disinterred and reburied at a new site, some 100 yards from the original graves. The reburials took place during the night of 26/27 November 1954. The reburials were the precursor to the construction of the Karl Marx tomb, designed by Laurence Bradshaw and funded by the Communist Party of Great Britain. The unveiling ceremony on 15 March 1956 was led by the Party's General Secretary, Harry Pollit.Since its construction, the tomb has become a place of veneration for Marx's followers, including some, such as the anti-apartheid activist Yusuf Dadoo and the founder of the Notting Hill Carnival Claudia Jones, who have been buried nearby.The tomb is owned by the Marx Grave Trust. The Friends of Highgate Cemetery Trust, which owns the cemetery, charges an entrance fee to the cemetery to cover the costs of upkeep and maintenance; this has generated some controversy. Marx's grave is among the most visited sites at Highgate and has been described as "one of the most recognisable graves in the world".

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: In Tomb of Karl Marx, how is the History discussed?

Marx moved to London as a political exile in June 1849. Living originally in Soho, he moved in 1875 to Maitland Park Road, in the north London area of Belsize Park, and this remained his home until his death in 1883. During this period, Marx wrote some of his most notable works, including The Eighteenth Brumaire of Louis Napoleon and Das Kapital. Throughout his time in London, Marx lived in financially straitened circumstances and was heavily reliant on the support of his friend and collaborator Friedrich Engels. Marx died on the afternoon of 14 March 1883 from a combination of bronchitis and pleurisy, exacerbated by an abscess on his lung. He was buried on the following Saturday, at Highgate Cemetery, in the grave prepared for his wife who had died eighteen months previously. Engels spoke the eulogy at the funeral.At least thirteen named individuals attended the funeral. They were Engels, Eleanor Marx, Edward Aveling, Paul Lafargue, Charles Longuet, Helene Demuth, Wilhelm Liebknecht, Gottlieb Lemke, Frederich Lessner, Georg Lochner, Sir Ray Lankester, Carl Schorlemmer and Ernest Radford. A contemporary newspaper account claims that 25 to 30 relatives and friends attended the funeral. A writer in The Graphic noted that, 'By a strange blunder ...his death was not announced for two days, and then as having taken place at Paris. Next day the correction came from Paris; and when his friends and followers hastened to his house in Haverstock Hill, to learn the time and place of burial, they learned that he was already in the cold ground. But for this secresy [sic] and haste, a great popular demonstration would undoubtedly have been held over his grave'.In 1954, the Marx Memorial Committee, with the agreement of Frederick and Robert-Jean Longuet, Marx's great-grandsons, applied to the Home Office for an exhumation licence allowing the bodies of Marx, his wife, other family members and the Marxs’ housekeeper Helene Demuth to be disinterred and reburied at a new site, some 100 yards from the original graves. The reburials took place during the night of 26/27 November 1954. The reburials were the precursor to the construction of the Karl Marx tomb, designed by Laurence Bradshaw and funded by the Communist Party of Great Britain. The unveiling ceremony on 15 March 1956 was led by the Party's General Secretary, Harry Pollit.Since its construction, the tomb has become a place of veneration for Marx's followers, including some, such as the anti-apartheid activist Yusuf Dadoo and the founder of the Notting Hill Carnival Claudia Jones, who have been buried nearby.The tomb is owned by the Marx Grave Trust. The Friends of Highgate Cemetery Trust, which owns the cemetery, charges an entrance fee to the cemetery to cover the costs of upkeep and maintenance; this has generated some controversy. Marx's grave is among the most visited sites at Highgate and has been described as "one of the most recognisable graves in the world".

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: In the context of Tomb of Karl Marx, explain the Vandalism and the History.

In 1960, a pair of yellow swastikas were painted on the tomb, as well as slogans in German supporting Nazi SS officer Adolf Eichmann, who was then in custody in Israel. The tomb was the subject of two bombing attempts in the 1970s. The tomb was daubed in blue paint in 2011, but no lasting damage was done.In February 2019, it was discovered that the marble plaque from the original grave was damaged in an attack "seemingly with a hammer". A few days later, the monument was vandalised again, the attacker daubing it with the words "doctrine of hate" and "architect of genocide" in red paint. As a result, the Marx Grave Trust decided to install 24-hour video surveillance around the grave to deter further vandalism.

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

The Eighteenth Brumaire of Louis Napoleon

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: Explain the Vandalism about the History of this artwork, Tomb of Karl Marx.

In 1960, a pair of yellow swastikas were painted on the tomb, as well as slogans in German supporting Nazi SS officer Adolf Eichmann, who was then in custody in Israel. The tomb was the subject of two bombing attempts in the 1970s. The tomb was daubed in blue paint in 2011, but no lasting damage was done.In February 2019, it was discovered that the marble plaque from the original grave was damaged in an attack "seemingly with a hammer". A few days later, the monument was vandalised again, the attacker daubing it with the words "doctrine of hate" and "architect of genocide" in red paint. As a result, the Marx Grave Trust decided to install 24-hour video surveillance around the grave to deter further vandalism.

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

The Eighteenth Brumaire of Louis Napoleon

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: In Tomb of Karl Marx, how is the Vandalism of the History explained?

In 1960, a pair of yellow swastikas were painted on the tomb, as well as slogans in German supporting Nazi SS officer Adolf Eichmann, who was then in custody in Israel. The tomb was the subject of two bombing attempts in the 1970s. The tomb was daubed in blue paint in 2011, but no lasting damage was done.In February 2019, it was discovered that the marble plaque from the original grave was damaged in an attack "seemingly with a hammer". A few days later, the monument was vandalised again, the attacker daubing it with the words "doctrine of hate" and "architect of genocide" in red paint. As a result, the Marx Grave Trust decided to install 24-hour video surveillance around the grave to deter further vandalism.

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

The Eighteenth Brumaire of Louis Napoleon

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: Describe the characteristics of the Vandalism in Tomb of Karl Marx's History.

In 1960, a pair of yellow swastikas were painted on the tomb, as well as slogans in German supporting Nazi SS officer Adolf Eichmann, who was then in custody in Israel. The tomb was the subject of two bombing attempts in the 1970s. The tomb was daubed in blue paint in 2011, but no lasting damage was done.In February 2019, it was discovered that the marble plaque from the original grave was damaged in an attack "seemingly with a hammer". A few days later, the monument was vandalised again, the attacker daubing it with the words "doctrine of hate" and "architect of genocide" in red paint. As a result, the Marx Grave Trust decided to install 24-hour video surveillance around the grave to deter further vandalism.

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

The Eighteenth Brumaire of Louis Napoleon

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: Focus on Tomb of Karl Marx and explain the Architecture and description.

The tomb was designed by Laurence Bradshaw, an artist, sculptor and a member of the Communist Party since the 1930s. On obtaining the commission, Bradshaw wrote that the challenge was to create, "not a monument to a man only but to a great mind and a great philosopher". The tomb comprises a large bronze bust of Marx's head and shoulders, set on a marble plinth. Bradshaw was responsible for the entire design, including the choice of inscribed texts, and their calligraphy. The texts on the front of the memorial are the closing words of "The Communist Manifesto", "Workers of all lands unite", and those which conclude the Theses on Feuerbach, "The philosophers have only interpreted the world in various ways • the point however is to change it". The sides of the memorial each have three projecting lugs, the top two of which support sculpted wreaths. A central panel records the dates of the births and deaths of Marx, of his wife, of their daughter Eleanor, of their grandson Harry Longuet and of their housekeeper Helene Demuth.Pevsner, which records the pedestal as being constructed "of granite", describes the head as "colossal". Bradshaw wrote that he wanted the bust to convey the "dynamic force of [Marx's] intellect" and for it to appear at eye-level rather than "towering over the people". The architectural writer Clive Aslet considers the tomb "overwheening" and "the least aesthetically pleasing" monument in Highgate Cemetery. The tomb was listed by Historic England in 1974, and its designation raised to the highest grade, Grade I, in 1999.

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

The Eighteenth Brumaire of Louis Napoleon

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: Explain the Architecture and description of this artwork, Tomb of Karl Marx.

The tomb was designed by Laurence Bradshaw, an artist, sculptor and a member of the Communist Party since the 1930s. On obtaining the commission, Bradshaw wrote that the challenge was to create, "not a monument to a man only but to a great mind and a great philosopher". The tomb comprises a large bronze bust of Marx's head and shoulders, set on a marble plinth. Bradshaw was responsible for the entire design, including the choice of inscribed texts, and their calligraphy. The texts on the front of the memorial are the closing words of "The Communist Manifesto", "Workers of all lands unite", and those which conclude the Theses on Feuerbach, "The philosophers have only interpreted the world in various ways • the point however is to change it". The sides of the memorial each have three projecting lugs, the top two of which support sculpted wreaths. A central panel records the dates of the births and deaths of Marx, of his wife, of their daughter Eleanor, of their grandson Harry Longuet and of their housekeeper Helene Demuth.Pevsner, which records the pedestal as being constructed "of granite", describes the head as "colossal". Bradshaw wrote that he wanted the bust to convey the "dynamic force of [Marx's] intellect" and for it to appear at eye-level rather than "towering over the people". The architectural writer Clive Aslet considers the tomb "overwheening" and "the least aesthetically pleasing" monument in Highgate Cemetery. The tomb was listed by Historic England in 1974, and its designation raised to the highest grade, Grade I, in 1999.

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

The Eighteenth Brumaire of Louis Napoleon

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: How does Tomb of Karl Marx explain its Architecture and description?

The tomb was designed by Laurence Bradshaw, an artist, sculptor and a member of the Communist Party since the 1930s. On obtaining the commission, Bradshaw wrote that the challenge was to create, "not a monument to a man only but to a great mind and a great philosopher". The tomb comprises a large bronze bust of Marx's head and shoulders, set on a marble plinth. Bradshaw was responsible for the entire design, including the choice of inscribed texts, and their calligraphy. The texts on the front of the memorial are the closing words of "The Communist Manifesto", "Workers of all lands unite", and those which conclude the Theses on Feuerbach, "The philosophers have only interpreted the world in various ways • the point however is to change it". The sides of the memorial each have three projecting lugs, the top two of which support sculpted wreaths. A central panel records the dates of the births and deaths of Marx, of his wife, of their daughter Eleanor, of their grandson Harry Longuet and of their housekeeper Helene Demuth.Pevsner, which records the pedestal as being constructed "of granite", describes the head as "colossal". Bradshaw wrote that he wanted the bust to convey the "dynamic force of [Marx's] intellect" and for it to appear at eye-level rather than "towering over the people". The architectural writer Clive Aslet considers the tomb "overwheening" and "the least aesthetically pleasing" monument in Highgate Cemetery. The tomb was listed by Historic England in 1974, and its designation raised to the highest grade, Grade I, in 1999.

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

The Eighteenth Brumaire of Louis Napoleon

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


Tomb of Karl Marx

Prompt: In Tomb of Karl Marx, how is the Architecture and description discussed?

The tomb was designed by Laurence Bradshaw, an artist, sculptor and a member of the Communist Party since the 1930s. On obtaining the commission, Bradshaw wrote that the challenge was to create, "not a monument to a man only but to a great mind and a great philosopher". The tomb comprises a large bronze bust of Marx's head and shoulders, set on a marble plinth. Bradshaw was responsible for the entire design, including the choice of inscribed texts, and their calligraphy. The texts on the front of the memorial are the closing words of "The Communist Manifesto", "Workers of all lands unite", and those which conclude the Theses on Feuerbach, "The philosophers have only interpreted the world in various ways • the point however is to change it". The sides of the memorial each have three projecting lugs, the top two of which support sculpted wreaths. A central panel records the dates of the births and deaths of Marx, of his wife, of their daughter Eleanor, of their grandson Harry Longuet and of their housekeeper Helene Demuth.Pevsner, which records the pedestal as being constructed "of granite", describes the head as "colossal". Bradshaw wrote that he wanted the bust to convey the "dynamic force of [Marx's] intellect" and for it to appear at eye-level rather than "towering over the people". The architectural writer Clive Aslet considers the tomb "overwheening" and "the least aesthetically pleasing" monument in Highgate Cemetery. The tomb was listed by Historic England in 1974, and its designation raised to the highest grade, Grade I, in 1999.

File:Gravestone - Karl Marx grave - Highgate East Cemetery - North London, England.jpg

The tomb of Karl Marx: detailed view of the central panel which formed the original gravestone

The Eighteenth Brumaire of Louis Napoleon

Category:Vandalized works of art in the United Kingdom

Category:Grade I listed monuments and memorials

Category:Monuments and memorials to Karl Marx

Category:Grade I listed buildings in the London Borough of Camden

Former Karl Marx grave at the Highgate Cemetery

Category:Buildings and structures completed in 1956

Category:Communist Party of Great Britain

Category:Monuments and memorials in London

The Eighteenth Brumaire of Louis Bonaparte


The Potato Eaters

Prompt: Focus on The Potato Eaters and explain the abstract.

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: Explain the abstract of this artwork, The Potato Eaters.

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: How does The Potato Eaters explain its abstract?

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: In The Potato Eaters, how is the abstract discussed?

The Potato Eaters (Dutch: De Aardappeleters) is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands.It is in the Van Gogh Museum in Amsterdam. The original oil sketch is at the Kröller-Müller Museum in Otterlo, and he made lithographs of the image, which are held in collections including the Museum of Modern Art in New York City. The painting is considered to be one of Van Gogh's masterpieces.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: Focus on The Potato Eaters and explain the Composition.

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: Explain the Composition of this artwork, The Potato Eaters.

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: How does The Potato Eaters explain its Composition?

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: In The Potato Eaters, how is the Composition discussed?

During March and the beginning of April 1885, Van Gogh sketched studies for the painting and corresponded with his brother Theo, who was not impressed with his current work nor the sketches Van Gogh sent him in Paris. He began working on The Potato Eaters while living with his parents in Nuenen, a rural town which was home to many farmers, labourers and weavers. He worked on the painting from 13 April until the beginning of May, when it was mostly done except for minor changes that he made with a small brush later the same year.Van Gogh said he wanted to depict peasants as they really were. He deliberately chose coarse and ugly models, thinking that they would be natural and unspoiled in his finished work.Writing to his sister Willemina two years later in Paris, Van Gogh still considered The Potato Eaters his most successful painting: "What I think about my own work is that the painting of the peasants eating potatoes that I did in Nuenen is after all the best thing I did". However, the work was criticized by his friend Anthon van Rappard soon after it was painted. This was a blow to Van Gogh's confidence as an emerging artist, and he wrote back to his friend, "you... had no right to condemn my work in the way you did" (July 1885), and later, "I am always doing what I can't do yet in order to learn how to do it." (August 1885).Vincent Van Gogh is known to have admired the Belgian painter Charles de Groux and in particular his work The blessing before supper. De Groux's work is a solemn depiction of a peasant family saying grace before supper. The painting was closely linked to Christian representations of the Last Supper. Van Gogh's The Potato Eaters was inspired by this work of de Groux and similar religious connotations can be identified in Van Gogh's work.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: Focus on The Potato Eaters and explain the Lithograph.

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: Explain the Lithograph of this artwork, The Potato Eaters.

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: How does The Potato Eaters explain its Lithograph?

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: In The Potato Eaters, how is the Lithograph discussed?

Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper. He sent impressions to his brother and, in a letter to a friend, wrote that he made the lithograph from memory in the space of a day.Van Gogh had first experimented with lithography in The Hague in 1882. Though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. In a letter dated around 3 December 1882 he remarksI believe, though, that it would be a great mistake to imagine that such things as, for instance, the print The Grace  (a family of woodcutters or peasants at table) were created at a stroke in their final form. No, in most cases the solidity and pith of the small is only obtained through much more serious study than is imagined by those who think lightly of the task of illustrating ...Anyway, some paintings in their huge frames look very substantial, and later one is surprised when they actually leave behind such an empty and dissatisfied feeling. On the other hand, one overlooks many an unpretentious woodcut or lithograph or etching now and then, but comes back to it and becomes more and more attached to it with time, and senses something great in it.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: Focus on The Potato Eaters and explain the Influence of the Hague School.

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: Explain the Influence of the Hague School of this artwork, The Potato Eaters.

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: How does The Potato Eaters explain its Influence of the Hague School?

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: In The Potato Eaters, how is the Influence of the Hague School discussed?

Van Gogh is often associated in people's minds with the Post-Impressionist movement, but in fact his artistic roots lay much closer to home in the artists of the Hague School such as Anton Mauve and Jozef Israëls.In a letter to his brother Theo written mid-June 1884, Vincent remarks:When I hear you talk about a lot of new names, it's not always possible for me to understand when I've seen absolutely nothing by them. And from what you said about 'Impressionism', I’ve grasped that it's something different from what I thought it was, but it's still not entirely clear to me what one should understand by it.But for my part, I find so tremendously much in Israëls, for instance, that I'm not particularly curious about or eager for something different or newer.Before Vincent painted The Potato Eaters, Israëls had already treated the same subject in his A Peasant Family at the Table and, judging from a comment in a letter to Theo 11 March 1882, Vincent had seen this (or at least a variation of it) and had been inspired to produce his own version of it. Compositionally, the two are very similar: in both paintings the composition of the painting is centered by a figure whose back is turned to the viewer. As well as an interest gained by A Peasant Family at the Table, Vincent had an appreciation for a simpler lifestyle. Vincent was known to disregard the finer things, once writing in a letter to his brother Theo:When I receive money, even if I've fasted, isn't for food, but is even stronger for painting [...] meanwhile the lifeline I cling to is my breakfast with the people where I live, and a cup of coffee and bread in the cremerie in the evening...Van Gogh seemed to emotionally identify with the middle class, although he was from a family who were quite well-off. The subject was that of the harsh reality of life in the working class. He also simply admired the sustainability of the potato, or aardappel in Dutch. Aardappel literally translates to "earth apple," which paints an idea of a simpler, hearty lifestyle.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: Focus on The Potato Eaters and explain the Theft.

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: Explain the Theft of this artwork, The Potato Eaters.

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: How does The Potato Eaters explain its Theft?

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


The Potato Eaters

Prompt: In The Potato Eaters, how is the Theft discussed?

Thieves stole the early version of The Potato Eaters, the Weaver's Interior, and Dried Sunflowers from the Kröller-Müller Museum in December 1988. In April 1989, the thieves returned Weaver's Interior in an attempt to gain a $2.5 million ransom. The police recovered the other two on 14 July 1989; no ransom was paid.On 14 April 1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the final version of The Potato Eaters. However, the getaway car suffered a blown tire, and the thieves were forced to flee, leaving the paintings behind. Thirty-five minutes after the robbery, the paintings were recovered.

File:The Potato Eaters - Lithography by Vincent van Gogh.jpg

Category:Paintings of the Netherlands by Vincent van Gogh

Category:Collection of the Kröller-Müller Museum

Lithograph (April 1885), reversed, [[Rijksmuseum, Amsterdam

:File:Charles de Groux - The blessing.jpg

''The Cottage'', 1885, [[Van Gogh Museum

Category:Collection of the Van Gogh Museum


Virgin of Vladimir

Prompt: Focus on Virgin of Vladimir and explain the abstract.

The Virgin of Vladimir, also known as Vladimir Mother of God, Our Lady of Vladimir (Russian: Владимирская икона Божией Матери), is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon. Following its near destruction in the thirteenth century, the work has been restored at least five times.The icon was painted by an unknown artist most likely in Constantinople, or painted by Luke the Evangelist and sent through Anatolia to Thrace. It was sent to Kiev as a gift before being transferred to the Assumption Cathedral in Vladimir. It is traditionally said that the icon did not leave Vladimir until 1395, when it was brought to Moscow to protect the city from an invasion by Timur, although the historical accuracy of this claim is uncertain. By at least the sixteenth century, it was in the Dormition Cathedral in Moscow where it remained until it was moved to the State Tretyakov Gallery after the Russian Revolution.It was subject to an ownership dispute in the 1990s between the gallery and Moscow Patriarchate, which ended with its relocation to the Church of St. Nicholas in Tolmachi. An arrangement was made to operate the church with dual status as a house church and part of the museum. The icon remains there today, and is only accessible via an underground passage from the gallery to the church, where liturgies are still held.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the abstract of this artwork, Virgin of Vladimir.

The Virgin of Vladimir, also known as Vladimir Mother of God, Our Lady of Vladimir (Russian: Владимирская икона Божией Матери), is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon. Following its near destruction in the thirteenth century, the work has been restored at least five times.The icon was painted by an unknown artist most likely in Constantinople, or painted by Luke the Evangelist and sent through Anatolia to Thrace. It was sent to Kiev as a gift before being transferred to the Assumption Cathedral in Vladimir. It is traditionally said that the icon did not leave Vladimir until 1395, when it was brought to Moscow to protect the city from an invasion by Timur, although the historical accuracy of this claim is uncertain. By at least the sixteenth century, it was in the Dormition Cathedral in Moscow where it remained until it was moved to the State Tretyakov Gallery after the Russian Revolution.It was subject to an ownership dispute in the 1990s between the gallery and Moscow Patriarchate, which ended with its relocation to the Church of St. Nicholas in Tolmachi. An arrangement was made to operate the church with dual status as a house church and part of the museum. The icon remains there today, and is only accessible via an underground passage from the gallery to the church, where liturgies are still held.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: How does Virgin of Vladimir explain its abstract?

The Virgin of Vladimir, also known as Vladimir Mother of God, Our Lady of Vladimir (Russian: Владимирская икона Божией Матери), is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon. Following its near destruction in the thirteenth century, the work has been restored at least five times.The icon was painted by an unknown artist most likely in Constantinople, or painted by Luke the Evangelist and sent through Anatolia to Thrace. It was sent to Kiev as a gift before being transferred to the Assumption Cathedral in Vladimir. It is traditionally said that the icon did not leave Vladimir until 1395, when it was brought to Moscow to protect the city from an invasion by Timur, although the historical accuracy of this claim is uncertain. By at least the sixteenth century, it was in the Dormition Cathedral in Moscow where it remained until it was moved to the State Tretyakov Gallery after the Russian Revolution.It was subject to an ownership dispute in the 1990s between the gallery and Moscow Patriarchate, which ended with its relocation to the Church of St. Nicholas in Tolmachi. An arrangement was made to operate the church with dual status as a house church and part of the museum. The icon remains there today, and is only accessible via an underground passage from the gallery to the church, where liturgies are still held.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the abstract discussed?

The Virgin of Vladimir, also known as Vladimir Mother of God, Our Lady of Vladimir (Russian: Владимирская икона Божией Матери), is a 12th-century Byzantine icon depicting the Virgin and Child and an early example of the Eleusa iconographic type. It is one of the most culturally significant and celebrated pieces of art in Russian history. Many consider it a national palladium with several miracles of historical importance to Russia being attributed to the icon. Following its near destruction in the thirteenth century, the work has been restored at least five times.The icon was painted by an unknown artist most likely in Constantinople, or painted by Luke the Evangelist and sent through Anatolia to Thrace. It was sent to Kiev as a gift before being transferred to the Assumption Cathedral in Vladimir. It is traditionally said that the icon did not leave Vladimir until 1395, when it was brought to Moscow to protect the city from an invasion by Timur, although the historical accuracy of this claim is uncertain. By at least the sixteenth century, it was in the Dormition Cathedral in Moscow where it remained until it was moved to the State Tretyakov Gallery after the Russian Revolution.It was subject to an ownership dispute in the 1990s between the gallery and Moscow Patriarchate, which ended with its relocation to the Church of St. Nicholas in Tolmachi. An arrangement was made to operate the church with dual status as a house church and part of the museum. The icon remains there today, and is only accessible via an underground passage from the gallery to the church, where liturgies are still held.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In the context of Virgin of Vladimir, explain the Origins and the History.

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them and in a fire in 1195.In about 1131, the Greek Patriarch of Constantinople sent the icon as a gift to grand prince Yuri Dolgorukiy of Kiev. Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155.In a traditional account the horses transporting the icon had stopped near Vladimir and refused to go further. Accordingly, many people of Rus interpreted this as a sign that the Theotokos wanted the icon to stay there. The place was named Bogolyubovo, or "the one loved by God".  Andrey placed it in his Bogolyubovo residence and built the Assumption Cathedral to legitimize his claim that Vladimir had replaced Kiev as the principal city of Rus. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the Origins about the History of this artwork, Virgin of Vladimir.

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them and in a fire in 1195.In about 1131, the Greek Patriarch of Constantinople sent the icon as a gift to grand prince Yuri Dolgorukiy of Kiev. Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155.In a traditional account the horses transporting the icon had stopped near Vladimir and refused to go further. Accordingly, many people of Rus interpreted this as a sign that the Theotokos wanted the icon to stay there. The place was named Bogolyubovo, or "the one loved by God".  Andrey placed it in his Bogolyubovo residence and built the Assumption Cathedral to legitimize his claim that Vladimir had replaced Kiev as the principal city of Rus. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the Origins of the History explained?

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them and in a fire in 1195.In about 1131, the Greek Patriarch of Constantinople sent the icon as a gift to grand prince Yuri Dolgorukiy of Kiev. Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155.In a traditional account the horses transporting the icon had stopped near Vladimir and refused to go further. Accordingly, many people of Rus interpreted this as a sign that the Theotokos wanted the icon to stay there. The place was named Bogolyubovo, or "the one loved by God".  Andrey placed it in his Bogolyubovo residence and built the Assumption Cathedral to legitimize his claim that Vladimir had replaced Kiev as the principal city of Rus. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Describe the characteristics of the Origins in Virgin of Vladimir's History.

The icon is dated to the earlier part of the 12th century, and arrived in Rus' around 1131. This is consistent with accounts given in Rus' chronicles. Similar to other high quality Byzantine works of art, it is thought to have been painted in Constantinople. Only the faces are original, with the clothes repainted after suffering damage when a metal cover or riza was placed over them and in a fire in 1195.In about 1131, the Greek Patriarch of Constantinople sent the icon as a gift to grand prince Yuri Dolgorukiy of Kiev. Academic Sona Hoisington attributes this in part to a greater effort by Byzantines to convert and Christianize the Slavic peoples at the time. It was kept in a Vyshhorod nunnery until Yuri's son, Andrey of Bogolyubovo, brought it to Vladimir in 1155.In a traditional account the horses transporting the icon had stopped near Vladimir and refused to go further. Accordingly, many people of Rus interpreted this as a sign that the Theotokos wanted the icon to stay there. The place was named Bogolyubovo, or "the one loved by God".  Andrey placed it in his Bogolyubovo residence and built the Assumption Cathedral to legitimize his claim that Vladimir had replaced Kiev as the principal city of Rus. The icon was soon moved to the Assumption Cathedral after its consecration in 1160.Following the consecration of the Assumption Cathedral, which was soon followed by other churches dedicated to the Virgin, there is no record of the icon ever leaving Vladimir until 1395. However, its presence did not prevent the sack and burning of the city by the Mongols in 1238, when the icon was damaged in the fire. It was restored soon after the event, and again in 1431 and in 1512.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In the context of Virgin of Vladimir, explain the Transfer to Moscow and the History.

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480.The image was brought from Vladimir to Moscow in 1395, during Tamerlane's invasion. The site where the Muscovites met the Vladimir delegation is commemorated by the Sretensky Monastery which is considered to be built where it occurred. However, no archeological evidence supports this claim, and much of the fifteenth-to-sixteenth century church was destroyed after renovations by the Russian Orthodox Church. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the Transfer to Moscow about the History of this artwork, Virgin of Vladimir.

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480.The image was brought from Vladimir to Moscow in 1395, during Tamerlane's invasion. The site where the Muscovites met the Vladimir delegation is commemorated by the Sretensky Monastery which is considered to be built where it occurred. However, no archeological evidence supports this claim, and much of the fifteenth-to-sixteenth century church was destroyed after renovations by the Russian Orthodox Church. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the Transfer to Moscow of the History explained?

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480.The image was brought from Vladimir to Moscow in 1395, during Tamerlane's invasion. The site where the Muscovites met the Vladimir delegation is commemorated by the Sretensky Monastery which is considered to be built where it occurred. However, no archeological evidence supports this claim, and much of the fifteenth-to-sixteenth century church was destroyed after renovations by the Russian Orthodox Church. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Describe the characteristics of the Transfer to Moscow in Virgin of Vladimir's History.

A legend formed that the icon was painted by Luke the Evangelist from life; the first written account of this story dates back to 1512. The intercession of the Theotokos through the image has also been credited with saving Moscow from Tatar hordes in 1451 and 1480.The image was brought from Vladimir to Moscow in 1395, during Tamerlane's invasion. The site where the Muscovites met the Vladimir delegation is commemorated by the Sretensky Monastery which is considered to be built where it occurred. However, no archeological evidence supports this claim, and much of the fifteenth-to-sixteenth century church was destroyed after renovations by the Russian Orthodox Church. Vasily I of Moscow spent a night crying over the icon, and Tamerlane's armies retreated the same day. The Muscovites refused to return the icon to Vladimir and placed it in the Dormition Cathedral of the Moscow Kremlin.David Miller suggests that the icon was in fact normally still in Vladimir, with some excursions to Moscow, until the 1520s. Crediting the icon with saving Moscow in 1395 does not appear in sources until the late 15th century and the full version of the story until accounts of 1512 and then the 1560s. From the 16th century, the Vladimirskaya began to be featured as an important symbol in a series of politicized legends linking Moscow to pre-Mongol Rus and positioning it as the centre of Christianity after Rome and Byzantium—initially to sustain the imperial pretensions of Ivan IV, and later to influence state policy under the Riurikid and Romanov dynasties.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In the context of Virgin of Vladimir, explain the Post-revolution and the History.

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, it was first put on display in the gallery in 1930 and kept there for at least the next 11 years. During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book Муниципальная милиция в Российской Федерации.In 1993, it was moved to the Epiphany Cathedral for a Divine Liturgy in the wake of tensions between President Boris Yeltsin and the Russian Duma. Though it was damaged during the excursion, it was soon restored and given to the Church of St. Nicholas in Tolmachi.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Explain the Post-revolution about the History of this artwork, Virgin of Vladimir.

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, it was first put on display in the gallery in 1930 and kept there for at least the next 11 years. During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book Муниципальная милиция в Российской Федерации.In 1993, it was moved to the Epiphany Cathedral for a Divine Liturgy in the wake of tensions between President Boris Yeltsin and the Russian Duma. Though it was damaged during the excursion, it was soon restored and given to the Church of St. Nicholas in Tolmachi.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: In Virgin of Vladimir, how is the Post-revolution of the History explained?

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, it was first put on display in the gallery in 1930 and kept there for at least the next 11 years. During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book Муниципальная милиция в Российской Федерации.In 1993, it was moved to the Epiphany Cathedral for a Divine Liturgy in the wake of tensions between President Boris Yeltsin and the Russian Duma. Though it was damaged during the excursion, it was soon restored and given to the Church of St. Nicholas in Tolmachi.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus


Virgin of Vladimir

Prompt: Describe the characteristics of the Post-revolution in Virgin of Vladimir's History.

Under the Bolsheviks, the icon came into the possession of the State Tretyakov Gallery. Displayed as a work of art, it was first put on display in the gallery in 1930 and kept there for at least the next 11 years. During the Battle of Moscow, Joseph Stalin allegedly had the icon flown around the city as the Germans began to invade. This was first described by Moscow city official Viktor Volokhov in his 2012 book Муниципальная милиция в Российской Федерации.In 1993, it was moved to the Epiphany Cathedral for a Divine Liturgy in the wake of tensions between President Boris Yeltsin and the Russian Duma. Though it was damaged during the excursion, it was soon restored and given to the Church of St. Nicholas in Tolmachi.

The surviving portion of the {{interlanguage link

Prince Andrew removing the icon from a convent in Vyshhorod. A miniature from the [[Illustrated Chronicle of Ivan the Terrible

Gregorian calendar § Difference between Gregorian and Julian calendar dates

Gregorian calendar#Difference between Gregorian and Julian calendar dates

File:Vladimirskaja ikona Božiej Materi v Tret'jakovskoj.jpg

Byzantine Empire under the Komnenos dynasty

Our Lady of Vladimir on display within the church

Category:Eastern Orthodox icons of the Virgin Mary

File:Facial Chronicle - Vyshgorod icon.jpg

Category:Paintings of the Madonna and Child

This sixteenth century icon shows Metropolitan [[Cyprian, Metropolitan of Kiev

Category:Titles of Mary, mother of Jesus