Bust of Cleopatra

Prompt: In Bust of Cleopatra, how is the 1980s of the Identification history explained?

Robert S. Bianchi, also of the Brooklyn Museum, suggested the bust was either of a Queen or Goddess because "the appearance of the uraeus on the hair band is an attribute common to both." Bianchi thought a more precise identification would have been possible "had the annulets on the crown of the head been preserved."Neckline: Bianchi decided to focus on other sculpted features of the bust "for the chronological criteria." He made note of the "concave, raised neckline" on the statue and compared the features of the neckline with other Ptolemaic statues of women from the Musées royaux d'art et d'histoire in Brussels, Belgium (English: Royal Museums of Art and History) and the Yale University Art Gallery in New Haven, Connecticut. The statues Bianchi used to compare with the ROM's piece were both dated between 200-100 BC.Facial Features: Bianchi also identified the bust's time period using the sculpting style of the facial features. He noted "The face is modeled in broad planes without the addition of linear adjuncts, and the treatment of the eyes, with a creased upper lid which passes over the lower, recalls features common to sculptures assigned to 3rd and 2nd centuries BC."With this research, evidence began to suggest that the statue belonging to the ROM had different characteristics when compared with other Ptolemaic statues from the 240-200 BC period. Bianchi's research challenged the first commonly accepted identification of the statue by dating the fragment to between 200 and 100 BC, and by giving merit to the possibility that the statue in fact depicts a goddess

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Describe the characteristics of the 1980s in Bust of Cleopatra's Identification history.

Robert S. Bianchi, also of the Brooklyn Museum, suggested the bust was either of a Queen or Goddess because "the appearance of the uraeus on the hair band is an attribute common to both." Bianchi thought a more precise identification would have been possible "had the annulets on the crown of the head been preserved."Neckline: Bianchi decided to focus on other sculpted features of the bust "for the chronological criteria." He made note of the "concave, raised neckline" on the statue and compared the features of the neckline with other Ptolemaic statues of women from the Musées royaux d'art et d'histoire in Brussels, Belgium (English: Royal Museums of Art and History) and the Yale University Art Gallery in New Haven, Connecticut. The statues Bianchi used to compare with the ROM's piece were both dated between 200-100 BC.Facial Features: Bianchi also identified the bust's time period using the sculpting style of the facial features. He noted "The face is modeled in broad planes without the addition of linear adjuncts, and the treatment of the eyes, with a creased upper lid which passes over the lower, recalls features common to sculptures assigned to 3rd and 2nd centuries BC."With this research, evidence began to suggest that the statue belonging to the ROM had different characteristics when compared with other Ptolemaic statues from the 240-200 BC period. Bianchi's research challenged the first commonly accepted identification of the statue by dating the fragment to between 200 and 100 BC, and by giving merit to the possibility that the statue in fact depicts a goddess

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In the context of Bust of Cleopatra, explain the 2000s - present and the Identification history.

Sally-Ann Ashton of The Fitzwilliam Museum focuses on "the unusual extended back pillar with crown and the rounded portrait features, which on closer examination echo but do not exactly match those of early Ptolemaic period" in dating the statue.Facial Features: While examining the statue's face, Ashton noted "in profile, the face appears flat and almost angular, a feature typical of Roman-era copies of Ptolemaic sculpture." She adds, "the pronounced modelling around the eyes is typical of Roman-period sculptures and can be found on numerous sphinxes and portraits of the emperor as pharaoh."The Roman copying of Ptolemaic sculpting traditions may be due in-part to a policy introduced by Cleopatra VII. As Ashton writes "research undertaken for the British Museum's Cleopatra of Egypt exhibition, scholars had discovered Cleopatra VII had a policy of associating herself with Arsinoe II." This policy "included copying the sculptures of Arsinoe's day (early Ptolemaic period) who remained a popular goddess into the Roman period."In reference to the past attempts at identification based on facial features Ashton remarked, "it is not surprising then that some earlier-style features found their way into the Roman-Egyptian repertoire of Cleopatra's time, which also explains why scholars have struggled to place the ROM's piece."Back Pillar and Crown: Ashton made a connection between the statue at the ROM and an almost identical piece from the Petrie Museum of Egyptian Archaeology, University College, London, "which shares the unusual pillar and crown, is also linked to the 1st century BC and to Cleopatra herself."The back pillar usually "extended beyond the statue's head only in colossal statue's to support the headdress." The ROM and the Petrie sculptures were "smaller than life-size" yet both shared the back pillars defining characteristic. While the piece at the ROM does not have any identifying inscriptions, the sculpture at the Petrie Museum does and reads "king's sister and king's wife." The inscription on the Petrie sculpture identifies the piece to be of Cleopatra VII sometime between 46-47 BC.The crown of the statue (now broken) provided another link to identifying the statue. "In form, the ROM and the Petrie sculptures are the same; both have the crown carved from the same block of stone as the statue's." The differences in the two crowns can be found on the statue's headdress. The ROM's statue has one uraeus (cobra) sculpted into the headdress, while the Petrie piece has three. One cobra was usually indicative of being "associated with Arsinoe II" a queen we now know Cleopatra VII was synonymous with, through policy. Three cobras was the usual distinction Cleopatra VII would use in motifs. With this in mind, Ashton hypothesized that "the ROM statue may thus be a missing link-a very early representation of the queen, at a time before she had adopted the three cobras, perhaps during her early reign with Ptolemy XIII. This would date the statue from 51 to 47 BC.Currently, the artifact label for the Royal Ontario Museum's statue of Cleopatra VII reads as follows:Statue Fragment of Cleopatra VII69 - 30 BCAlthough this statue is not inscribed, analysis supports identification as the renowned Cleopatra, early in her reign. The portrait is done in a traditional, idealized Egyptian style which does not reflect a realistic appearance.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Explain the 2000s - present about the Identification history of this artwork, Bust of Cleopatra.

Sally-Ann Ashton of The Fitzwilliam Museum focuses on "the unusual extended back pillar with crown and the rounded portrait features, which on closer examination echo but do not exactly match those of early Ptolemaic period" in dating the statue.Facial Features: While examining the statue's face, Ashton noted "in profile, the face appears flat and almost angular, a feature typical of Roman-era copies of Ptolemaic sculpture." She adds, "the pronounced modelling around the eyes is typical of Roman-period sculptures and can be found on numerous sphinxes and portraits of the emperor as pharaoh."The Roman copying of Ptolemaic sculpting traditions may be due in-part to a policy introduced by Cleopatra VII. As Ashton writes "research undertaken for the British Museum's Cleopatra of Egypt exhibition, scholars had discovered Cleopatra VII had a policy of associating herself with Arsinoe II." This policy "included copying the sculptures of Arsinoe's day (early Ptolemaic period) who remained a popular goddess into the Roman period."In reference to the past attempts at identification based on facial features Ashton remarked, "it is not surprising then that some earlier-style features found their way into the Roman-Egyptian repertoire of Cleopatra's time, which also explains why scholars have struggled to place the ROM's piece."Back Pillar and Crown: Ashton made a connection between the statue at the ROM and an almost identical piece from the Petrie Museum of Egyptian Archaeology, University College, London, "which shares the unusual pillar and crown, is also linked to the 1st century BC and to Cleopatra herself."The back pillar usually "extended beyond the statue's head only in colossal statue's to support the headdress." The ROM and the Petrie sculptures were "smaller than life-size" yet both shared the back pillars defining characteristic. While the piece at the ROM does not have any identifying inscriptions, the sculpture at the Petrie Museum does and reads "king's sister and king's wife." The inscription on the Petrie sculpture identifies the piece to be of Cleopatra VII sometime between 46-47 BC.The crown of the statue (now broken) provided another link to identifying the statue. "In form, the ROM and the Petrie sculptures are the same; both have the crown carved from the same block of stone as the statue's." The differences in the two crowns can be found on the statue's headdress. The ROM's statue has one uraeus (cobra) sculpted into the headdress, while the Petrie piece has three. One cobra was usually indicative of being "associated with Arsinoe II" a queen we now know Cleopatra VII was synonymous with, through policy. Three cobras was the usual distinction Cleopatra VII would use in motifs. With this in mind, Ashton hypothesized that "the ROM statue may thus be a missing link-a very early representation of the queen, at a time before she had adopted the three cobras, perhaps during her early reign with Ptolemy XIII. This would date the statue from 51 to 47 BC.Currently, the artifact label for the Royal Ontario Museum's statue of Cleopatra VII reads as follows:Statue Fragment of Cleopatra VII69 - 30 BCAlthough this statue is not inscribed, analysis supports identification as the renowned Cleopatra, early in her reign. The portrait is done in a traditional, idealized Egyptian style which does not reflect a realistic appearance.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In Bust of Cleopatra, how is the 2000s - present of the Identification history explained?

Sally-Ann Ashton of The Fitzwilliam Museum focuses on "the unusual extended back pillar with crown and the rounded portrait features, which on closer examination echo but do not exactly match those of early Ptolemaic period" in dating the statue.Facial Features: While examining the statue's face, Ashton noted "in profile, the face appears flat and almost angular, a feature typical of Roman-era copies of Ptolemaic sculpture." She adds, "the pronounced modelling around the eyes is typical of Roman-period sculptures and can be found on numerous sphinxes and portraits of the emperor as pharaoh."The Roman copying of Ptolemaic sculpting traditions may be due in-part to a policy introduced by Cleopatra VII. As Ashton writes "research undertaken for the British Museum's Cleopatra of Egypt exhibition, scholars had discovered Cleopatra VII had a policy of associating herself with Arsinoe II." This policy "included copying the sculptures of Arsinoe's day (early Ptolemaic period) who remained a popular goddess into the Roman period."In reference to the past attempts at identification based on facial features Ashton remarked, "it is not surprising then that some earlier-style features found their way into the Roman-Egyptian repertoire of Cleopatra's time, which also explains why scholars have struggled to place the ROM's piece."Back Pillar and Crown: Ashton made a connection between the statue at the ROM and an almost identical piece from the Petrie Museum of Egyptian Archaeology, University College, London, "which shares the unusual pillar and crown, is also linked to the 1st century BC and to Cleopatra herself."The back pillar usually "extended beyond the statue's head only in colossal statue's to support the headdress." The ROM and the Petrie sculptures were "smaller than life-size" yet both shared the back pillars defining characteristic. While the piece at the ROM does not have any identifying inscriptions, the sculpture at the Petrie Museum does and reads "king's sister and king's wife." The inscription on the Petrie sculpture identifies the piece to be of Cleopatra VII sometime between 46-47 BC.The crown of the statue (now broken) provided another link to identifying the statue. "In form, the ROM and the Petrie sculptures are the same; both have the crown carved from the same block of stone as the statue's." The differences in the two crowns can be found on the statue's headdress. The ROM's statue has one uraeus (cobra) sculpted into the headdress, while the Petrie piece has three. One cobra was usually indicative of being "associated with Arsinoe II" a queen we now know Cleopatra VII was synonymous with, through policy. Three cobras was the usual distinction Cleopatra VII would use in motifs. With this in mind, Ashton hypothesized that "the ROM statue may thus be a missing link-a very early representation of the queen, at a time before she had adopted the three cobras, perhaps during her early reign with Ptolemy XIII. This would date the statue from 51 to 47 BC.Currently, the artifact label for the Royal Ontario Museum's statue of Cleopatra VII reads as follows:Statue Fragment of Cleopatra VII69 - 30 BCAlthough this statue is not inscribed, analysis supports identification as the renowned Cleopatra, early in her reign. The portrait is done in a traditional, idealized Egyptian style which does not reflect a realistic appearance.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Describe the characteristics of the 2000s - present in Bust of Cleopatra's Identification history.

Sally-Ann Ashton of The Fitzwilliam Museum focuses on "the unusual extended back pillar with crown and the rounded portrait features, which on closer examination echo but do not exactly match those of early Ptolemaic period" in dating the statue.Facial Features: While examining the statue's face, Ashton noted "in profile, the face appears flat and almost angular, a feature typical of Roman-era copies of Ptolemaic sculpture." She adds, "the pronounced modelling around the eyes is typical of Roman-period sculptures and can be found on numerous sphinxes and portraits of the emperor as pharaoh."The Roman copying of Ptolemaic sculpting traditions may be due in-part to a policy introduced by Cleopatra VII. As Ashton writes "research undertaken for the British Museum's Cleopatra of Egypt exhibition, scholars had discovered Cleopatra VII had a policy of associating herself with Arsinoe II." This policy "included copying the sculptures of Arsinoe's day (early Ptolemaic period) who remained a popular goddess into the Roman period."In reference to the past attempts at identification based on facial features Ashton remarked, "it is not surprising then that some earlier-style features found their way into the Roman-Egyptian repertoire of Cleopatra's time, which also explains why scholars have struggled to place the ROM's piece."Back Pillar and Crown: Ashton made a connection between the statue at the ROM and an almost identical piece from the Petrie Museum of Egyptian Archaeology, University College, London, "which shares the unusual pillar and crown, is also linked to the 1st century BC and to Cleopatra herself."The back pillar usually "extended beyond the statue's head only in colossal statue's to support the headdress." The ROM and the Petrie sculptures were "smaller than life-size" yet both shared the back pillars defining characteristic. While the piece at the ROM does not have any identifying inscriptions, the sculpture at the Petrie Museum does and reads "king's sister and king's wife." The inscription on the Petrie sculpture identifies the piece to be of Cleopatra VII sometime between 46-47 BC.The crown of the statue (now broken) provided another link to identifying the statue. "In form, the ROM and the Petrie sculptures are the same; both have the crown carved from the same block of stone as the statue's." The differences in the two crowns can be found on the statue's headdress. The ROM's statue has one uraeus (cobra) sculpted into the headdress, while the Petrie piece has three. One cobra was usually indicative of being "associated with Arsinoe II" a queen we now know Cleopatra VII was synonymous with, through policy. Three cobras was the usual distinction Cleopatra VII would use in motifs. With this in mind, Ashton hypothesized that "the ROM statue may thus be a missing link-a very early representation of the queen, at a time before she had adopted the three cobras, perhaps during her early reign with Ptolemy XIII. This would date the statue from 51 to 47 BC.Currently, the artifact label for the Royal Ontario Museum's statue of Cleopatra VII reads as follows:Statue Fragment of Cleopatra VII69 - 30 BCAlthough this statue is not inscribed, analysis supports identification as the renowned Cleopatra, early in her reign. The portrait is done in a traditional, idealized Egyptian style which does not reflect a realistic appearance.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In the context of Bust of Cleopatra, explain the Ancient Egyptian and the Cultural analysis.

Roberta Shaw, Assistant Curator of World Cultures at the Royal Ontario Museum suggest, "the statue probably stood outside some important municipal building. Perhaps a temple, perhaps the famous Alexandrian Library." The object's meaning within Ancient Egyptian culture stems from its role as a municipal statue. The small-sized nature demonstrates the statue would have been seen on a daily basis for the late Ptolemaic Egyptians; it would have been displayed at a level where the public could easily identify it as Cleopatra VII.In contrast, the Roman busts of Cleopatra that have survived, including the Berlin Cleopatra in the Altes Museum and the Vatican Cleopatra in the Vatican Museums (excluding the now disputed British Museum bust of Cleopatra thought to be a Roman woman imitating her hairstyle), depict the queen as a Hellenistic Greek monarch with a royal diadem and "melon" hairstyle of her Ptolemaic Greek ancestors Arsinoe II and Berenice II. A Hellenistic bust in the Archaeological Museum of Cherchel, Algeria again shows Cleopatra wearing the royal diadem, symbol of Greek kingship, but with a different hairstyle than the Berlin and Vatican busts. Another Parian-marble Roman bust of Cleopatra exists in the Capitoline Museums of Rome, but it features her wearing an Egyptian-style vulture headdress instead of a diadem.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Explain the Ancient Egyptian about the Cultural analysis of this artwork, Bust of Cleopatra.

Roberta Shaw, Assistant Curator of World Cultures at the Royal Ontario Museum suggest, "the statue probably stood outside some important municipal building. Perhaps a temple, perhaps the famous Alexandrian Library." The object's meaning within Ancient Egyptian culture stems from its role as a municipal statue. The small-sized nature demonstrates the statue would have been seen on a daily basis for the late Ptolemaic Egyptians; it would have been displayed at a level where the public could easily identify it as Cleopatra VII.In contrast, the Roman busts of Cleopatra that have survived, including the Berlin Cleopatra in the Altes Museum and the Vatican Cleopatra in the Vatican Museums (excluding the now disputed British Museum bust of Cleopatra thought to be a Roman woman imitating her hairstyle), depict the queen as a Hellenistic Greek monarch with a royal diadem and "melon" hairstyle of her Ptolemaic Greek ancestors Arsinoe II and Berenice II. A Hellenistic bust in the Archaeological Museum of Cherchel, Algeria again shows Cleopatra wearing the royal diadem, symbol of Greek kingship, but with a different hairstyle than the Berlin and Vatican busts. Another Parian-marble Roman bust of Cleopatra exists in the Capitoline Museums of Rome, but it features her wearing an Egyptian-style vulture headdress instead of a diadem.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In Bust of Cleopatra, how is the Ancient Egyptian of the Cultural analysis explained?

Roberta Shaw, Assistant Curator of World Cultures at the Royal Ontario Museum suggest, "the statue probably stood outside some important municipal building. Perhaps a temple, perhaps the famous Alexandrian Library." The object's meaning within Ancient Egyptian culture stems from its role as a municipal statue. The small-sized nature demonstrates the statue would have been seen on a daily basis for the late Ptolemaic Egyptians; it would have been displayed at a level where the public could easily identify it as Cleopatra VII.In contrast, the Roman busts of Cleopatra that have survived, including the Berlin Cleopatra in the Altes Museum and the Vatican Cleopatra in the Vatican Museums (excluding the now disputed British Museum bust of Cleopatra thought to be a Roman woman imitating her hairstyle), depict the queen as a Hellenistic Greek monarch with a royal diadem and "melon" hairstyle of her Ptolemaic Greek ancestors Arsinoe II and Berenice II. A Hellenistic bust in the Archaeological Museum of Cherchel, Algeria again shows Cleopatra wearing the royal diadem, symbol of Greek kingship, but with a different hairstyle than the Berlin and Vatican busts. Another Parian-marble Roman bust of Cleopatra exists in the Capitoline Museums of Rome, but it features her wearing an Egyptian-style vulture headdress instead of a diadem.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Describe the characteristics of the Ancient Egyptian in Bust of Cleopatra's Cultural analysis.

Roberta Shaw, Assistant Curator of World Cultures at the Royal Ontario Museum suggest, "the statue probably stood outside some important municipal building. Perhaps a temple, perhaps the famous Alexandrian Library." The object's meaning within Ancient Egyptian culture stems from its role as a municipal statue. The small-sized nature demonstrates the statue would have been seen on a daily basis for the late Ptolemaic Egyptians; it would have been displayed at a level where the public could easily identify it as Cleopatra VII.In contrast, the Roman busts of Cleopatra that have survived, including the Berlin Cleopatra in the Altes Museum and the Vatican Cleopatra in the Vatican Museums (excluding the now disputed British Museum bust of Cleopatra thought to be a Roman woman imitating her hairstyle), depict the queen as a Hellenistic Greek monarch with a royal diadem and "melon" hairstyle of her Ptolemaic Greek ancestors Arsinoe II and Berenice II. A Hellenistic bust in the Archaeological Museum of Cherchel, Algeria again shows Cleopatra wearing the royal diadem, symbol of Greek kingship, but with a different hairstyle than the Berlin and Vatican busts. Another Parian-marble Roman bust of Cleopatra exists in the Capitoline Museums of Rome, but it features her wearing an Egyptian-style vulture headdress instead of a diadem.

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In the context of Bust of Cleopatra, explain the Modern day and the Cultural analysis.

The modern day significance of the statue can be found in its rarity and its academic properties. In regards to rarity, Roberta Shaw states that "the ROM's statue of Cleopatra VII forms part of a pair," and is believed that "the sister statue resides in Alexandria." This pair is one of a kind, as no other unique pair of related statues of this iconic ancient queen during the period 69 - 30 BC have been discovered (although other sculptures of her exist). For this reason, the ROM's statue gives all the opportunity to examine Ptolemaic/Roman egyptianizing style of sculpture, establish a timeline to other period sculpture, and as Ashton states it "likely shows us the earliest representations of Cleopatra in two roles: queen and goddess of Egypt."

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Explain the Modern day about the Cultural analysis of this artwork, Bust of Cleopatra.

The modern day significance of the statue can be found in its rarity and its academic properties. In regards to rarity, Roberta Shaw states that "the ROM's statue of Cleopatra VII forms part of a pair," and is believed that "the sister statue resides in Alexandria." This pair is one of a kind, as no other unique pair of related statues of this iconic ancient queen during the period 69 - 30 BC have been discovered (although other sculptures of her exist). For this reason, the ROM's statue gives all the opportunity to examine Ptolemaic/Roman egyptianizing style of sculpture, establish a timeline to other period sculpture, and as Ashton states it "likely shows us the earliest representations of Cleopatra in two roles: queen and goddess of Egypt."

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: In Bust of Cleopatra, how is the Modern day of the Cultural analysis explained?

The modern day significance of the statue can be found in its rarity and its academic properties. In regards to rarity, Roberta Shaw states that "the ROM's statue of Cleopatra VII forms part of a pair," and is believed that "the sister statue resides in Alexandria." This pair is one of a kind, as no other unique pair of related statues of this iconic ancient queen during the period 69 - 30 BC have been discovered (although other sculptures of her exist). For this reason, the ROM's statue gives all the opportunity to examine Ptolemaic/Roman egyptianizing style of sculpture, establish a timeline to other period sculpture, and as Ashton states it "likely shows us the earliest representations of Cleopatra in two roles: queen and goddess of Egypt."

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Bust of Cleopatra

Prompt: Describe the characteristics of the Modern day in Bust of Cleopatra's Cultural analysis.

The modern day significance of the statue can be found in its rarity and its academic properties. In regards to rarity, Roberta Shaw states that "the ROM's statue of Cleopatra VII forms part of a pair," and is believed that "the sister statue resides in Alexandria." This pair is one of a kind, as no other unique pair of related statues of this iconic ancient queen during the period 69 - 30 BC have been discovered (although other sculptures of her exist). For this reason, the ROM's statue gives all the opportunity to examine Ptolemaic/Roman egyptianizing style of sculpture, establish a timeline to other period sculpture, and as Ashton states it "likely shows us the earliest representations of Cleopatra in two roles: queen and goddess of Egypt."

commons:Category:Bust of Cleopatra VII in the Vatican Museums, Museo Gregoriano Profano

Notice the large back pillar protruding from the back of the sculpture and base of the crown on the top of the head

commons:Category:Bust of Cleopatra VII in the British Museum

Category:Collection of the Royal Ontario Museum

Category:Archaeological discoveries in Egypt

commons:Category:Bust of Cleopatra VII in the Altes Museum Berlin

File:Statue fragment of Cleopatra VII - Royal Ontario Museum.jpg

The statue's round facial and neckline features

File:Bust of Cleopatra VII - Side Profile.jpg

Category:Cultural depictions of Cleopatra

Category:Collection of the Brooklyn Museum


Venus with a Mirror

Prompt: Focus on Venus with a Mirror and explain the abstract.

Venus with a Mirror (c. 1555) is a painting by Titian, now in the National Gallery of Art in Washington, DC, and it is considered to be one of the collection's highlights.The pose of the Venus resembles the classical statues of the Venus de' Medici in Florence or the Capitoline Venus in Rome, which Titian may have seen when he wrote that was "learning from the marvelous ancient stones." The painting is said to celebrate the ideal beauty of the female form, or to be a critique of vanity, or perhaps both. It was copied by several later artists, including Peter Paul Rubens and Anthony van Dyck.Titian made a number of paintings of the same subject, but this is believed to be the earliest and the only version to be entirely by the hand of Titian, without additions by his assistants. It remained in his house until his death in 1576.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: Explain the abstract of this artwork, Venus with a Mirror.

Venus with a Mirror (c. 1555) is a painting by Titian, now in the National Gallery of Art in Washington, DC, and it is considered to be one of the collection's highlights.The pose of the Venus resembles the classical statues of the Venus de' Medici in Florence or the Capitoline Venus in Rome, which Titian may have seen when he wrote that was "learning from the marvelous ancient stones." The painting is said to celebrate the ideal beauty of the female form, or to be a critique of vanity, or perhaps both. It was copied by several later artists, including Peter Paul Rubens and Anthony van Dyck.Titian made a number of paintings of the same subject, but this is believed to be the earliest and the only version to be entirely by the hand of Titian, without additions by his assistants. It remained in his house until his death in 1576.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: How does Venus with a Mirror explain its abstract?

Venus with a Mirror (c. 1555) is a painting by Titian, now in the National Gallery of Art in Washington, DC, and it is considered to be one of the collection's highlights.The pose of the Venus resembles the classical statues of the Venus de' Medici in Florence or the Capitoline Venus in Rome, which Titian may have seen when he wrote that was "learning from the marvelous ancient stones." The painting is said to celebrate the ideal beauty of the female form, or to be a critique of vanity, or perhaps both. It was copied by several later artists, including Peter Paul Rubens and Anthony van Dyck.Titian made a number of paintings of the same subject, but this is believed to be the earliest and the only version to be entirely by the hand of Titian, without additions by his assistants. It remained in his house until his death in 1576.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: In Venus with a Mirror, how is the abstract discussed?

Venus with a Mirror (c. 1555) is a painting by Titian, now in the National Gallery of Art in Washington, DC, and it is considered to be one of the collection's highlights.The pose of the Venus resembles the classical statues of the Venus de' Medici in Florence or the Capitoline Venus in Rome, which Titian may have seen when he wrote that was "learning from the marvelous ancient stones." The painting is said to celebrate the ideal beauty of the female form, or to be a critique of vanity, or perhaps both. It was copied by several later artists, including Peter Paul Rubens and Anthony van Dyck.Titian made a number of paintings of the same subject, but this is believed to be the earliest and the only version to be entirely by the hand of Titian, without additions by his assistants. It remained in his house until his death in 1576.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: Focus on Venus with a Mirror and explain the Painting, and versions.

X-rays of the painting have revealed that Titian painted it over a double portrait which he had abandoned. Titian kept the red cloak of one of the figures in the abandoned painting and placed it under Venus's arm. The use of the cloak from the earlier painting probably played a large part in the composition of the new painting.Titian is believed to have made another version of this Venus for the Venetian lawyer Niccolo Crasso, who also commissioned Titian to paint the Retable of Saint Nicholas de Bari at about the same time. A drawing of the other version was included by Anthony van Dyck in the sketchbook made during his trip to Italy. This other version is now lost, but a studio copy exists in the Hermitage Museum.Titian is thought to have made a second copy, which was sent to his regular patron King Philip II of Spain, in 1567. This version was also lost, but a copy of it by Peter Paul Rubens exists, which is in the Thyssen-Bornemisza Museum in Madrid.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: Explain the Painting, and versions of this artwork, Venus with a Mirror.

X-rays of the painting have revealed that Titian painted it over a double portrait which he had abandoned. Titian kept the red cloak of one of the figures in the abandoned painting and placed it under Venus's arm. The use of the cloak from the earlier painting probably played a large part in the composition of the new painting.Titian is believed to have made another version of this Venus for the Venetian lawyer Niccolo Crasso, who also commissioned Titian to paint the Retable of Saint Nicholas de Bari at about the same time. A drawing of the other version was included by Anthony van Dyck in the sketchbook made during his trip to Italy. This other version is now lost, but a studio copy exists in the Hermitage Museum.Titian is thought to have made a second copy, which was sent to his regular patron King Philip II of Spain, in 1567. This version was also lost, but a copy of it by Peter Paul Rubens exists, which is in the Thyssen-Bornemisza Museum in Madrid.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: How does Venus with a Mirror explain its Painting, and versions?

X-rays of the painting have revealed that Titian painted it over a double portrait which he had abandoned. Titian kept the red cloak of one of the figures in the abandoned painting and placed it under Venus's arm. The use of the cloak from the earlier painting probably played a large part in the composition of the new painting.Titian is believed to have made another version of this Venus for the Venetian lawyer Niccolo Crasso, who also commissioned Titian to paint the Retable of Saint Nicholas de Bari at about the same time. A drawing of the other version was included by Anthony van Dyck in the sketchbook made during his trip to Italy. This other version is now lost, but a studio copy exists in the Hermitage Museum.Titian is thought to have made a second copy, which was sent to his regular patron King Philip II of Spain, in 1567. This version was also lost, but a copy of it by Peter Paul Rubens exists, which is in the Thyssen-Bornemisza Museum in Madrid.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: In Venus with a Mirror, how is the Painting, and versions discussed?

X-rays of the painting have revealed that Titian painted it over a double portrait which he had abandoned. Titian kept the red cloak of one of the figures in the abandoned painting and placed it under Venus's arm. The use of the cloak from the earlier painting probably played a large part in the composition of the new painting.Titian is believed to have made another version of this Venus for the Venetian lawyer Niccolo Crasso, who also commissioned Titian to paint the Retable of Saint Nicholas de Bari at about the same time. A drawing of the other version was included by Anthony van Dyck in the sketchbook made during his trip to Italy. This other version is now lost, but a studio copy exists in the Hermitage Museum.Titian is thought to have made a second copy, which was sent to his regular patron King Philip II of Spain, in 1567. This version was also lost, but a copy of it by Peter Paul Rubens exists, which is in the Thyssen-Bornemisza Museum in Madrid.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: Focus on Venus with a Mirror and explain the Provenance.

In 1581, five years after Titian's death, the contents of his house in Venice, including the Venus with a Mirror, were sold by his son and heir Pomponio Vechellio to Christoforo Barbarigo. In 1850 the Russian Consul-General in Venice, A. Kvostov, purchased the painting, along with a large number of other masterpieces, from the Barbarigo family, for Czar Nicholas I for the sum of 525,000 francs, and it entered the collection of the Hermitage Museum in Saint Petersburg.In 1931, in order to earn foreign currency for the first of the five-year plans for the national economy of the Soviet Union, Joseph Stalin and the Soviet government secretly sold the painting, along with a number of other masterpieces, to a syndicate of art dealers, who sold it to the American collector Andrew Mellon, who wished to create a national art museum for the United States. Mellon donated it to the United States Government in 1937. It was one of the first masterpieces to be displayed in the National Gallery of Art in Washington when it opened in 1941.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art


Venus with a Mirror

Prompt: Explain the Provenance of this artwork, Venus with a Mirror.

In 1581, five years after Titian's death, the contents of his house in Venice, including the Venus with a Mirror, were sold by his son and heir Pomponio Vechellio to Christoforo Barbarigo. In 1850 the Russian Consul-General in Venice, A. Kvostov, purchased the painting, along with a large number of other masterpieces, from the Barbarigo family, for Czar Nicholas I for the sum of 525,000 francs, and it entered the collection of the Hermitage Museum in Saint Petersburg.In 1931, in order to earn foreign currency for the first of the five-year plans for the national economy of the Soviet Union, Joseph Stalin and the Soviet government secretly sold the painting, along with a number of other masterpieces, to a syndicate of art dealers, who sold it to the American collector Andrew Mellon, who wished to create a national art museum for the United States. Mellon donated it to the United States Government in 1937. It was one of the first masterpieces to be displayed in the National Gallery of Art in Washington when it opened in 1941.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art


Venus with a Mirror

Prompt: How does Venus with a Mirror explain its Provenance?

In 1581, five years after Titian's death, the contents of his house in Venice, including the Venus with a Mirror, were sold by his son and heir Pomponio Vechellio to Christoforo Barbarigo. In 1850 the Russian Consul-General in Venice, A. Kvostov, purchased the painting, along with a large number of other masterpieces, from the Barbarigo family, for Czar Nicholas I for the sum of 525,000 francs, and it entered the collection of the Hermitage Museum in Saint Petersburg.In 1931, in order to earn foreign currency for the first of the five-year plans for the national economy of the Soviet Union, Joseph Stalin and the Soviet government secretly sold the painting, along with a number of other masterpieces, to a syndicate of art dealers, who sold it to the American collector Andrew Mellon, who wished to create a national art museum for the United States. Mellon donated it to the United States Government in 1937. It was one of the first masterpieces to be displayed in the National Gallery of Art in Washington when it opened in 1941.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art


Venus with a Mirror

Prompt: In Venus with a Mirror, how is the Provenance discussed?

In 1581, five years after Titian's death, the contents of his house in Venice, including the Venus with a Mirror, were sold by his son and heir Pomponio Vechellio to Christoforo Barbarigo. In 1850 the Russian Consul-General in Venice, A. Kvostov, purchased the painting, along with a large number of other masterpieces, from the Barbarigo family, for Czar Nicholas I for the sum of 525,000 francs, and it entered the collection of the Hermitage Museum in Saint Petersburg.In 1931, in order to earn foreign currency for the first of the five-year plans for the national economy of the Soviet Union, Joseph Stalin and the Soviet government secretly sold the painting, along with a number of other masterpieces, to a syndicate of art dealers, who sold it to the American collector Andrew Mellon, who wished to create a national art museum for the United States. Mellon donated it to the United States Government in 1937. It was one of the first masterpieces to be displayed in the National Gallery of Art in Washington when it opened in 1941.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art


Venus with a Mirror

Prompt: Focus on Venus with a Mirror and explain the Works that may have influenced Titian.

The pose of the painting may have been influenced by Ancient Greek and Roman statues of Venus Titian could have seen in Rome and Florence. He was also influenced by his teacher Giovanni Bellini, who was the leader of the Venetian school of painters, known for their masterful use of color.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: Explain the Works that may have influenced Titian of this artwork, Venus with a Mirror.

The pose of the painting may have been influenced by Ancient Greek and Roman statues of Venus Titian could have seen in Rome and Florence. He was also influenced by his teacher Giovanni Bellini, who was the leader of the Venetian school of painters, known for their masterful use of color.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: How does Venus with a Mirror explain its Works that may have influenced Titian?

The pose of the painting may have been influenced by Ancient Greek and Roman statues of Venus Titian could have seen in Rome and Florence. He was also influenced by his teacher Giovanni Bellini, who was the leader of the Venetian school of painters, known for their masterful use of color.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: In Venus with a Mirror, how is the Works that may have influenced Titian discussed?

The pose of the painting may have been influenced by Ancient Greek and Roman statues of Venus Titian could have seen in Rome and Florence. He was also influenced by his teacher Giovanni Bellini, who was the leader of the Venetian school of painters, known for their masterful use of color.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: Focus on Venus with a Mirror and explain the Influence of the painting.

The theme of the painting was adapted by a number of later artists, including Peter Paul Rubens and Diego Velázquez.The painting itself was the inspiration for the protagonist Severin's imagination in the 1870 novel Venus in Furs by Leopold von Sacher-Masoch.The theme of the painting could be adapted by Palma il Giovane, or was painted by Titian himself in 1511.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: Explain the Influence of the painting of this artwork, Venus with a Mirror.

The theme of the painting was adapted by a number of later artists, including Peter Paul Rubens and Diego Velázquez.The painting itself was the inspiration for the protagonist Severin's imagination in the 1870 novel Venus in Furs by Leopold von Sacher-Masoch.The theme of the painting could be adapted by Palma il Giovane, or was painted by Titian himself in 1511.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: How does Venus with a Mirror explain its Influence of the painting?

The theme of the painting was adapted by a number of later artists, including Peter Paul Rubens and Diego Velázquez.The painting itself was the inspiration for the protagonist Severin's imagination in the 1870 novel Venus in Furs by Leopold von Sacher-Masoch.The theme of the painting could be adapted by Palma il Giovane, or was painted by Titian himself in 1511.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Venus with a Mirror

Prompt: In Venus with a Mirror, how is the Influence of the painting discussed?

The theme of the painting was adapted by a number of later artists, including Peter Paul Rubens and Diego Velázquez.The painting itself was the inspiration for the protagonist Severin's imagination in the 1870 novel Venus in Furs by Leopold von Sacher-Masoch.The theme of the painting could be adapted by Palma il Giovane, or was painted by Titian himself in 1511.

Category:Mythological paintings by Titian

File:Giovanni Bellini - Giovane donna nuda allo specchio.jpg

along with a number of other masterpieces

''Woman with a Mirror'', by [[Giovanni Bellini

List of paintings in the National Gallery of Art, Washington DC, formerly in the Hermitage Museum

List of paintings in the National Gallery of Art formerly in the Hermitage Museum

Category:Paintings in the National Gallery of Art

five-year plans for the national economy of the Soviet Union


Babuino

Prompt: Focus on Babuino and explain the abstract.

The Babuino (Romanesco: Il Babbuino; Italian: Il Babuino, The Baboon) is one of the talking statues of Rome, Italy. The fountain is situated in front of the Canova Tadolini Museum, in via del Babuino.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: Explain the abstract of this artwork, Babuino.

The Babuino (Romanesco: Il Babbuino; Italian: Il Babuino, The Baboon) is one of the talking statues of Rome, Italy. The fountain is situated in front of the Canova Tadolini Museum, in via del Babuino.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: How does Babuino explain its abstract?

The Babuino (Romanesco: Il Babbuino; Italian: Il Babuino, The Baboon) is one of the talking statues of Rome, Italy. The fountain is situated in front of the Canova Tadolini Museum, in via del Babuino.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: In Babuino, how is the abstract discussed?

The Babuino (Romanesco: Il Babbuino; Italian: Il Babuino, The Baboon) is one of the talking statues of Rome, Italy. The fountain is situated in front of the Canova Tadolini Museum, in via del Babuino.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: Focus on Babuino and explain the History.

The statue is an ancient depiction of a reclining Silenus: a character in Roman mythology, half man, half goat. In 1581, Patrizio Grandi, a rich merchant, built a public fountain in the former via Paolina, which he had decorated with this statue. According to the custom established by Pope Pius IV, he obtained free water for his house and fields in exchange for donating the fountain to the city. The people of Rome christened the figure "babuino" because they considered it ugly and deformed, like a baboon, and the street was nicknamed the "via del Babuino" as a result, the name eventually becoming the official one. After being moved to various other locations in Rome, the statue was returned to the street in 1957.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: Explain the History of this artwork, Babuino.

The statue is an ancient depiction of a reclining Silenus: a character in Roman mythology, half man, half goat. In 1581, Patrizio Grandi, a rich merchant, built a public fountain in the former via Paolina, which he had decorated with this statue. According to the custom established by Pope Pius IV, he obtained free water for his house and fields in exchange for donating the fountain to the city. The people of Rome christened the figure "babuino" because they considered it ugly and deformed, like a baboon, and the street was nicknamed the "via del Babuino" as a result, the name eventually becoming the official one. After being moved to various other locations in Rome, the statue was returned to the street in 1957.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: How does Babuino explain its History?

The statue is an ancient depiction of a reclining Silenus: a character in Roman mythology, half man, half goat. In 1581, Patrizio Grandi, a rich merchant, built a public fountain in the former via Paolina, which he had decorated with this statue. According to the custom established by Pope Pius IV, he obtained free water for his house and fields in exchange for donating the fountain to the city. The people of Rome christened the figure "babuino" because they considered it ugly and deformed, like a baboon, and the street was nicknamed the "via del Babuino" as a result, the name eventually becoming the official one. After being moved to various other locations in Rome, the statue was returned to the street in 1957.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: In Babuino, how is the History discussed?

The statue is an ancient depiction of a reclining Silenus: a character in Roman mythology, half man, half goat. In 1581, Patrizio Grandi, a rich merchant, built a public fountain in the former via Paolina, which he had decorated with this statue. According to the custom established by Pope Pius IV, he obtained free water for his house and fields in exchange for donating the fountain to the city. The people of Rome christened the figure "babuino" because they considered it ugly and deformed, like a baboon, and the street was nicknamed the "via del Babuino" as a result, the name eventually becoming the official one. After being moved to various other locations in Rome, the statue was returned to the street in 1957.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: Focus on Babuino and explain the Political comment and graffiti.

Pasquinades – irreverent satirical inscriptions poking fun at public figures – were posted beside the "talking statues" of Rome in the 16th century. The pasquinades (or, in Italian, pasquinate) of Il Babuino are more properly called babuinate, but the principle of satirical criticism is the same.The tradition of political comment continued as graffiti in modern times, to the extent that the fountain was considered an eyesore rather than an asset to this upmarket street. The wall behind the statue was covered in graffiti, although not on Babuino itself. Recently, the wall has been painted with an anti-vandal paint, to prevent the graffiti reappearing.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: Explain the Political comment and graffiti of this artwork, Babuino.

Pasquinades – irreverent satirical inscriptions poking fun at public figures – were posted beside the "talking statues" of Rome in the 16th century. The pasquinades (or, in Italian, pasquinate) of Il Babuino are more properly called babuinate, but the principle of satirical criticism is the same.The tradition of political comment continued as graffiti in modern times, to the extent that the fountain was considered an eyesore rather than an asset to this upmarket street. The wall behind the statue was covered in graffiti, although not on Babuino itself. Recently, the wall has been painted with an anti-vandal paint, to prevent the graffiti reappearing.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: How does Babuino explain its Political comment and graffiti?

Pasquinades – irreverent satirical inscriptions poking fun at public figures – were posted beside the "talking statues" of Rome in the 16th century. The pasquinades (or, in Italian, pasquinate) of Il Babuino are more properly called babuinate, but the principle of satirical criticism is the same.The tradition of political comment continued as graffiti in modern times, to the extent that the fountain was considered an eyesore rather than an asset to this upmarket street. The wall behind the statue was covered in graffiti, although not on Babuino itself. Recently, the wall has been painted with an anti-vandal paint, to prevent the graffiti reappearing.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Babuino

Prompt: In Babuino, how is the Political comment and graffiti discussed?

Pasquinades – irreverent satirical inscriptions poking fun at public figures – were posted beside the "talking statues" of Rome in the 16th century. The pasquinades (or, in Italian, pasquinate) of Il Babuino are more properly called babuinate, but the principle of satirical criticism is the same.The tradition of political comment continued as graffiti in modern times, to the extent that the fountain was considered an eyesore rather than an asset to this upmarket street. The wall behind the statue was covered in graffiti, although not on Babuino itself. Recently, the wall has been painted with an anti-vandal paint, to prevent the graffiti reappearing.

Scior Carera
Talking statues of Rome
Fontana dell'Acqua Paola
Details
talking statues
Category:Rome R. IV Campo Marzio
File:Babuino figure.JPG
thumb
Pasquino
graffiti
Wayback Machine
Fontana della Barcaccia
Rome
Pasquinade
Milan
Romanesco dialect
Talking statues
via del Babuino
Romanesco
fountain
Category:Fountains in Rome
Silenus
Category:1581 sculptures
satirical inscriptions
Category:Talking statues of Rome
Italy
Pope Pius IV
via Paolina
satire
Category:1581 establishments in Italy
talking statues of Rome


Thomas Jefferson (Bitter)

Prompt: Focus on Thomas Jefferson (Bitter) and explain the abstract.

Thomas Jefferson is a 1911 bronze statue of a seated Thomas Jefferson created by Karl Bitter for the Cuyahoga County Courthouse in Cleveland, Ohio, United States.A 1913 marble version, approximately 50 percent larger than the Cleveland statue, is installed at the Missouri History Museum in St. Louis. Bronze replicas of the Cleveland statue were installed at the University of Virginia in Charlottesville in 1915, and at Jefferson High School in Portland, Oregon in 1916. A plaster replica was donated to Thomas Jefferson High School in Brooklyn, New York City in 1929.

List of sculptures of presidents of the United States

Category:Buildings and structures in St. Louis

The statue at the [[University of Virginia

Category:Monuments and memorials in New York City

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Buildings and structures in Cleveland

Category:Vandalized works of art in Portland, Oregon

Category:Buildings and structures in Charlottesville, Virginia

George Floyd protests in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Marble sculptures in the United States

Category:Outdoor sculptures in Cleveland

Category:1929 establishments in New York City

Category:Sculptures of men in New York City

The statue at [[Jefferson High School (Portland, Oregon)

Category:Monuments and memorials in Missouri

Category:1913 establishments in Missouri

File:Unveiling of the Karl Bitter statue of Thomas Jefferson at the Jefferson Memorial Building.jpg

Category:Plaster sculptures in the United States

List of monuments and memorials removed during the George Floyd protests

Category:1915 establishments in Virginia

Category:Monuments and memorials in Portland, Oregon

Category:Monuments and memorials in Ohio

Category:Outdoor sculptures in North Portland, Oregon

Unveiling of the marble statue at the [[Missouri History Museum

United States Declaration of Independence

Category:Monuments and memorials in Virginia

Category:Buildings and structures in Brooklyn


Thomas Jefferson (Bitter)

Prompt: Explain the abstract of this artwork, Thomas Jefferson (Bitter).

Thomas Jefferson is a 1911 bronze statue of a seated Thomas Jefferson created by Karl Bitter for the Cuyahoga County Courthouse in Cleveland, Ohio, United States.A 1913 marble version, approximately 50 percent larger than the Cleveland statue, is installed at the Missouri History Museum in St. Louis. Bronze replicas of the Cleveland statue were installed at the University of Virginia in Charlottesville in 1915, and at Jefferson High School in Portland, Oregon in 1916. A plaster replica was donated to Thomas Jefferson High School in Brooklyn, New York City in 1929.

List of sculptures of presidents of the United States

Category:Buildings and structures in St. Louis

The statue at the [[University of Virginia

Category:Monuments and memorials in New York City

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Buildings and structures in Cleveland

Category:Vandalized works of art in Portland, Oregon

Category:Buildings and structures in Charlottesville, Virginia

George Floyd protests in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Marble sculptures in the United States

Category:Outdoor sculptures in Cleveland

Category:1929 establishments in New York City

Category:Sculptures of men in New York City

The statue at [[Jefferson High School (Portland, Oregon)

Category:Monuments and memorials in Missouri

Category:1913 establishments in Missouri

File:Unveiling of the Karl Bitter statue of Thomas Jefferson at the Jefferson Memorial Building.jpg

Category:Plaster sculptures in the United States

List of monuments and memorials removed during the George Floyd protests

Category:1915 establishments in Virginia

Category:Monuments and memorials in Portland, Oregon

Category:Monuments and memorials in Ohio

Category:Outdoor sculptures in North Portland, Oregon

Unveiling of the marble statue at the [[Missouri History Museum

United States Declaration of Independence

Category:Monuments and memorials in Virginia

Category:Buildings and structures in Brooklyn


Thomas Jefferson (Bitter)

Prompt: How does Thomas Jefferson (Bitter) explain its abstract?

Thomas Jefferson is a 1911 bronze statue of a seated Thomas Jefferson created by Karl Bitter for the Cuyahoga County Courthouse in Cleveland, Ohio, United States.A 1913 marble version, approximately 50 percent larger than the Cleveland statue, is installed at the Missouri History Museum in St. Louis. Bronze replicas of the Cleveland statue were installed at the University of Virginia in Charlottesville in 1915, and at Jefferson High School in Portland, Oregon in 1916. A plaster replica was donated to Thomas Jefferson High School in Brooklyn, New York City in 1929.

List of sculptures of presidents of the United States

Category:Buildings and structures in St. Louis

The statue at the [[University of Virginia

Category:Monuments and memorials in New York City

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Buildings and structures in Cleveland

Category:Vandalized works of art in Portland, Oregon

Category:Buildings and structures in Charlottesville, Virginia

George Floyd protests in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Marble sculptures in the United States

Category:Outdoor sculptures in Cleveland

Category:1929 establishments in New York City

Category:Sculptures of men in New York City

The statue at [[Jefferson High School (Portland, Oregon)

Category:Monuments and memorials in Missouri

Category:1913 establishments in Missouri

File:Unveiling of the Karl Bitter statue of Thomas Jefferson at the Jefferson Memorial Building.jpg

Category:Plaster sculptures in the United States

List of monuments and memorials removed during the George Floyd protests

Category:1915 establishments in Virginia

Category:Monuments and memorials in Portland, Oregon

Category:Monuments and memorials in Ohio

Category:Outdoor sculptures in North Portland, Oregon

Unveiling of the marble statue at the [[Missouri History Museum

United States Declaration of Independence

Category:Monuments and memorials in Virginia

Category:Buildings and structures in Brooklyn


Thomas Jefferson (Bitter)

Prompt: In Thomas Jefferson (Bitter), how is the abstract discussed?

Thomas Jefferson is a 1911 bronze statue of a seated Thomas Jefferson created by Karl Bitter for the Cuyahoga County Courthouse in Cleveland, Ohio, United States.A 1913 marble version, approximately 50 percent larger than the Cleveland statue, is installed at the Missouri History Museum in St. Louis. Bronze replicas of the Cleveland statue were installed at the University of Virginia in Charlottesville in 1915, and at Jefferson High School in Portland, Oregon in 1916. A plaster replica was donated to Thomas Jefferson High School in Brooklyn, New York City in 1929.

List of sculptures of presidents of the United States

Category:Buildings and structures in St. Louis

The statue at the [[University of Virginia

Category:Monuments and memorials in New York City

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Buildings and structures in Cleveland

Category:Vandalized works of art in Portland, Oregon

Category:Buildings and structures in Charlottesville, Virginia

George Floyd protests in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Marble sculptures in the United States

Category:Outdoor sculptures in Cleveland

Category:1929 establishments in New York City

Category:Sculptures of men in New York City

The statue at [[Jefferson High School (Portland, Oregon)

Category:Monuments and memorials in Missouri

Category:1913 establishments in Missouri

File:Unveiling of the Karl Bitter statue of Thomas Jefferson at the Jefferson Memorial Building.jpg

Category:Plaster sculptures in the United States

List of monuments and memorials removed during the George Floyd protests

Category:1915 establishments in Virginia

Category:Monuments and memorials in Portland, Oregon

Category:Monuments and memorials in Ohio

Category:Outdoor sculptures in North Portland, Oregon

Unveiling of the marble statue at the [[Missouri History Museum

United States Declaration of Independence

Category:Monuments and memorials in Virginia

Category:Buildings and structures in Brooklyn


Thomas Jefferson (Bitter)

Prompt: Focus on Thomas Jefferson (Bitter) and explain the Cuyahoga County Courthouse, Cleveland.

In 1909, Bitter was commissioned to create a bronze statue of a seated Thomas Jefferson and a bronze statue of a seated Alexander Hamilton, to flank the entrance steps to the Cuyahoga County Courthouse in Cleveland, Ohio. Both works were cast by the Roman Bronze Works, and installed in 1911. The Jefferson is approximately 72 in (180 cm) in height.Jefferson is depicted wearing 18th-century clothes, sitting in a klismos chair and holding "papers of state in hand." According to Ferdinand Schevill, "It is a youthful and rebellious Jefferson, author of the Declaration of Independence who appears before us in Cleveland." James Dennis describes the statue as having a "generally rustic appearance" in contrast to the nearby Hamilton whom he sees as an "aggressive young aristocrat."Bitter also created two marble attic figures for the courthouse, John Somers and Lord Mansfield.

List of sculptures of presidents of the United States

Category:Buildings and structures in St. Louis

The statue at the [[University of Virginia

Category:Monuments and memorials in New York City

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Buildings and structures in Cleveland

Category:Vandalized works of art in Portland, Oregon

Category:Buildings and structures in Charlottesville, Virginia

George Floyd protests in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Marble sculptures in the United States

Category:Outdoor sculptures in Cleveland

Category:1929 establishments in New York City

Category:Sculptures of men in New York City

The statue at [[Jefferson High School (Portland, Oregon)

Category:Monuments and memorials in Missouri

Category:1913 establishments in Missouri

File:Unveiling of the Karl Bitter statue of Thomas Jefferson at the Jefferson Memorial Building.jpg

Category:Plaster sculptures in the United States

List of monuments and memorials removed during the George Floyd protests

Category:1915 establishments in Virginia

Category:Monuments and memorials in Portland, Oregon

Category:Monuments and memorials in Ohio

Category:Outdoor sculptures in North Portland, Oregon

Unveiling of the marble statue at the [[Missouri History Museum

United States Declaration of Independence

Category:Monuments and memorials in Virginia

Category:Buildings and structures in Brooklyn


Thomas Jefferson (Bitter)

Prompt: Explain the Cuyahoga County Courthouse, Cleveland of this artwork, Thomas Jefferson (Bitter).

In 1909, Bitter was commissioned to create a bronze statue of a seated Thomas Jefferson and a bronze statue of a seated Alexander Hamilton, to flank the entrance steps to the Cuyahoga County Courthouse in Cleveland, Ohio. Both works were cast by the Roman Bronze Works, and installed in 1911. The Jefferson is approximately 72 in (180 cm) in height.Jefferson is depicted wearing 18th-century clothes, sitting in a klismos chair and holding "papers of state in hand." According to Ferdinand Schevill, "It is a youthful and rebellious Jefferson, author of the Declaration of Independence who appears before us in Cleveland." James Dennis describes the statue as having a "generally rustic appearance" in contrast to the nearby Hamilton whom he sees as an "aggressive young aristocrat."Bitter also created two marble attic figures for the courthouse, John Somers and Lord Mansfield.

List of sculptures of presidents of the United States

Category:Buildings and structures in St. Louis

The statue at the [[University of Virginia

Category:Monuments and memorials in New York City

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Buildings and structures in Cleveland

Category:Vandalized works of art in Portland, Oregon

Category:Buildings and structures in Charlottesville, Virginia

George Floyd protests in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Marble sculptures in the United States

Category:Outdoor sculptures in Cleveland

Category:1929 establishments in New York City

Category:Sculptures of men in New York City

The statue at [[Jefferson High School (Portland, Oregon)

Category:Monuments and memorials in Missouri

Category:1913 establishments in Missouri

File:Unveiling of the Karl Bitter statue of Thomas Jefferson at the Jefferson Memorial Building.jpg

Category:Plaster sculptures in the United States

List of monuments and memorials removed during the George Floyd protests

Category:1915 establishments in Virginia

Category:Monuments and memorials in Portland, Oregon

Category:Monuments and memorials in Ohio

Category:Outdoor sculptures in North Portland, Oregon

Unveiling of the marble statue at the [[Missouri History Museum

United States Declaration of Independence

Category:Monuments and memorials in Virginia

Category:Buildings and structures in Brooklyn


Thomas Jefferson (Bitter)

Prompt: How does Thomas Jefferson (Bitter) explain its Cuyahoga County Courthouse, Cleveland?

In 1909, Bitter was commissioned to create a bronze statue of a seated Thomas Jefferson and a bronze statue of a seated Alexander Hamilton, to flank the entrance steps to the Cuyahoga County Courthouse in Cleveland, Ohio. Both works were cast by the Roman Bronze Works, and installed in 1911. The Jefferson is approximately 72 in (180 cm) in height.Jefferson is depicted wearing 18th-century clothes, sitting in a klismos chair and holding "papers of state in hand." According to Ferdinand Schevill, "It is a youthful and rebellious Jefferson, author of the Declaration of Independence who appears before us in Cleveland." James Dennis describes the statue as having a "generally rustic appearance" in contrast to the nearby Hamilton whom he sees as an "aggressive young aristocrat."Bitter also created two marble attic figures for the courthouse, John Somers and Lord Mansfield.

List of sculptures of presidents of the United States

Category:Buildings and structures in St. Louis

The statue at the [[University of Virginia

Category:Monuments and memorials in New York City

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Buildings and structures in Cleveland

Category:Vandalized works of art in Portland, Oregon

Category:Buildings and structures in Charlottesville, Virginia

George Floyd protests in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Marble sculptures in the United States

Category:Outdoor sculptures in Cleveland

Category:1929 establishments in New York City

Category:Sculptures of men in New York City

The statue at [[Jefferson High School (Portland, Oregon)

Category:Monuments and memorials in Missouri

Category:1913 establishments in Missouri

File:Unveiling of the Karl Bitter statue of Thomas Jefferson at the Jefferson Memorial Building.jpg

Category:Plaster sculptures in the United States

List of monuments and memorials removed during the George Floyd protests

Category:1915 establishments in Virginia

Category:Monuments and memorials in Portland, Oregon

Category:Monuments and memorials in Ohio

Category:Outdoor sculptures in North Portland, Oregon

Unveiling of the marble statue at the [[Missouri History Museum

United States Declaration of Independence

Category:Monuments and memorials in Virginia

Category:Buildings and structures in Brooklyn


Thomas Jefferson (Bitter)

Prompt: In Thomas Jefferson (Bitter), how is the Cuyahoga County Courthouse, Cleveland discussed?

In 1909, Bitter was commissioned to create a bronze statue of a seated Thomas Jefferson and a bronze statue of a seated Alexander Hamilton, to flank the entrance steps to the Cuyahoga County Courthouse in Cleveland, Ohio. Both works were cast by the Roman Bronze Works, and installed in 1911. The Jefferson is approximately 72 in (180 cm) in height.Jefferson is depicted wearing 18th-century clothes, sitting in a klismos chair and holding "papers of state in hand." According to Ferdinand Schevill, "It is a youthful and rebellious Jefferson, author of the Declaration of Independence who appears before us in Cleveland." James Dennis describes the statue as having a "generally rustic appearance" in contrast to the nearby Hamilton whom he sees as an "aggressive young aristocrat."Bitter also created two marble attic figures for the courthouse, John Somers and Lord Mansfield.

List of sculptures of presidents of the United States

Category:Buildings and structures in St. Louis

The statue at the [[University of Virginia

Category:Monuments and memorials in New York City

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Buildings and structures in Cleveland

Category:Vandalized works of art in Portland, Oregon

Category:Buildings and structures in Charlottesville, Virginia

George Floyd protests in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Marble sculptures in the United States

Category:Outdoor sculptures in Cleveland

Category:1929 establishments in New York City

Category:Sculptures of men in New York City

The statue at [[Jefferson High School (Portland, Oregon)

Category:Monuments and memorials in Missouri

Category:1913 establishments in Missouri

File:Unveiling of the Karl Bitter statue of Thomas Jefferson at the Jefferson Memorial Building.jpg

Category:Plaster sculptures in the United States

List of monuments and memorials removed during the George Floyd protests

Category:1915 establishments in Virginia

Category:Monuments and memorials in Portland, Oregon

Category:Monuments and memorials in Ohio

Category:Outdoor sculptures in North Portland, Oregon

Unveiling of the marble statue at the [[Missouri History Museum

United States Declaration of Independence

Category:Monuments and memorials in Virginia

Category:Buildings and structures in Brooklyn


Thomas Jefferson (Bitter)

Prompt: In the context of Thomas Jefferson (Bitter), explain the Missouri History Museum, St. Louis and the Replicas.

Bitter served as director of sculpture for the Louisiana Purchase Exposition, the 1904 World's Fair held in St. Louis to celebrate the centenary of the Louisiana Purchase. John Quincy Adams Ward was commissioned to create a heroic-size seated figure of Thomas Jefferson for the Exposition, but the commission went to Charles Grafly following Ward's withdrawal. Grafly's Seated Jefferson was modeled in staff, a temporary building material, and does not survive.In 1909, the Exposition's executive committee realized that the World's Fair had actually generated a profit. Instead of attempting to divide the profit among the Exposition's 15,000 stockholders, the committee decided to build a Jefferson Memorial in St. Louis. President Jefferson had played the central role in the 1803 Louisiana Purchase, and there was not yet a national monument to him in Washington, D.C. Architects were hired and, after the usual issues surrounding attempting to design by committee were resolved, Isaac S. Taylor designed the Jefferson Memorial Building.The centerpiece of the memorial was to be a monumental statue of Jefferson. Bitter had already modeled his seated Jefferson for Cleveland, and the committee commissioned him to create a marble version 50 percent larger than the original. The Cleveland statue depicted a 33-year-old Jefferson, his age at the time of the writing of the Declaration of Independence. The St. Louis statue was to depict a 60-year-old President of the United States, his age at the time of the Louisiana Purchase. The statue was roughed out of a forty-five ton block of white marble in Italy, and shipped to St. Louis, where Bitter did the finished carving in situ. The completed statue was unveiled on April 13, 1913, Jefferson's 170th birthday.The St. Louis Jefferson is 114 in (290 cm) in height, and stands upon a 90 in (230 cm) base. Bitter's one-quarter-size plaster model is in the collection of the St. Louis Art Museum.

List of sculptures of presidents of the United States

Category:Buildings and structures in St. Louis

The statue at the [[University of Virginia

Category:Monuments and memorials in New York City

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Buildings and structures in Cleveland

Category:Vandalized works of art in Portland, Oregon

Category:Buildings and structures in Charlottesville, Virginia

George Floyd protests in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Marble sculptures in the United States

Category:Outdoor sculptures in Cleveland

Category:1929 establishments in New York City

Category:Sculptures of men in New York City

The statue at [[Jefferson High School (Portland, Oregon)

Category:Monuments and memorials in Missouri

Category:1913 establishments in Missouri

File:Unveiling of the Karl Bitter statue of Thomas Jefferson at the Jefferson Memorial Building.jpg

Category:Plaster sculptures in the United States

List of monuments and memorials removed during the George Floyd protests

Category:1915 establishments in Virginia

Category:Monuments and memorials in Portland, Oregon

Category:Monuments and memorials in Ohio

Category:Outdoor sculptures in North Portland, Oregon

Unveiling of the marble statue at the [[Missouri History Museum

United States Declaration of Independence

Category:Monuments and memorials in Virginia

Category:Buildings and structures in Brooklyn