La belle jardinière

Prompt: Focus on La belle jardinière and explain the History.

This painting is considered one of the most famous Madonna portraits of Italian Renaissance painter, Raphael. Many art historians believe that this painting is the peak of Raphael's achievements and one of his strongest pieces from his Florentine phase. Raphael began to paint La Belle Jardinière after finishing Madonna of the Goldfinch. This work also mirror his next piece Madonna of the Meadow.Raphael was unable to complete this painting before he left Florence. It was later finished by Ridolfo del Ghirlandaio. Ghirlandaio is especially credited for completing the blue robe of Mary. The painting was later taken to Paris by King Francis I of France,  where it gained in popularity and was copied by many other artists.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: Explain the History of this artwork, La belle jardinière.

This painting is considered one of the most famous Madonna portraits of Italian Renaissance painter, Raphael. Many art historians believe that this painting is the peak of Raphael's achievements and one of his strongest pieces from his Florentine phase. Raphael began to paint La Belle Jardinière after finishing Madonna of the Goldfinch. This work also mirror his next piece Madonna of the Meadow.Raphael was unable to complete this painting before he left Florence. It was later finished by Ridolfo del Ghirlandaio. Ghirlandaio is especially credited for completing the blue robe of Mary. The painting was later taken to Paris by King Francis I of France,  where it gained in popularity and was copied by many other artists.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: How does La belle jardinière explain its History?

This painting is considered one of the most famous Madonna portraits of Italian Renaissance painter, Raphael. Many art historians believe that this painting is the peak of Raphael's achievements and one of his strongest pieces from his Florentine phase. Raphael began to paint La Belle Jardinière after finishing Madonna of the Goldfinch. This work also mirror his next piece Madonna of the Meadow.Raphael was unable to complete this painting before he left Florence. It was later finished by Ridolfo del Ghirlandaio. Ghirlandaio is especially credited for completing the blue robe of Mary. The painting was later taken to Paris by King Francis I of France,  where it gained in popularity and was copied by many other artists.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: In La belle jardinière, how is the History discussed?

This painting is considered one of the most famous Madonna portraits of Italian Renaissance painter, Raphael. Many art historians believe that this painting is the peak of Raphael's achievements and one of his strongest pieces from his Florentine phase. Raphael began to paint La Belle Jardinière after finishing Madonna of the Goldfinch. This work also mirror his next piece Madonna of the Meadow.Raphael was unable to complete this painting before he left Florence. It was later finished by Ridolfo del Ghirlandaio. Ghirlandaio is especially credited for completing the blue robe of Mary. The painting was later taken to Paris by King Francis I of France,  where it gained in popularity and was copied by many other artists.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: Focus on La belle jardinière and explain the Description.

The painting portrays Mary, Christ and a young John the Baptist. Mary is the focus of the painting. Her face is situated at the apex of the pyramidal composition and her body fills most of the rest. She is holding the Christ child, who is standing at her foot to her right. John the Baptist is on the ground to the left of Mary and is holding his reed cross with his right hand. Mary is holding a book in the hand that is resting on her lap. There are faint halos around all of their heads, a feature that disappears in the High Renaissance. The landscape of the painting is that of a beautiful countryside garden. Raphael used a unified naturalistic composition with rich and luminous colors and blended light and shadows to help create a highly realistic atmosphere.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: Explain the Description of this artwork, La belle jardinière.

The painting portrays Mary, Christ and a young John the Baptist. Mary is the focus of the painting. Her face is situated at the apex of the pyramidal composition and her body fills most of the rest. She is holding the Christ child, who is standing at her foot to her right. John the Baptist is on the ground to the left of Mary and is holding his reed cross with his right hand. Mary is holding a book in the hand that is resting on her lap. There are faint halos around all of their heads, a feature that disappears in the High Renaissance. The landscape of the painting is that of a beautiful countryside garden. Raphael used a unified naturalistic composition with rich and luminous colors and blended light and shadows to help create a highly realistic atmosphere.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: How does La belle jardinière explain its Description?

The painting portrays Mary, Christ and a young John the Baptist. Mary is the focus of the painting. Her face is situated at the apex of the pyramidal composition and her body fills most of the rest. She is holding the Christ child, who is standing at her foot to her right. John the Baptist is on the ground to the left of Mary and is holding his reed cross with his right hand. Mary is holding a book in the hand that is resting on her lap. There are faint halos around all of their heads, a feature that disappears in the High Renaissance. The landscape of the painting is that of a beautiful countryside garden. Raphael used a unified naturalistic composition with rich and luminous colors and blended light and shadows to help create a highly realistic atmosphere.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: In La belle jardinière, how is the Description discussed?

The painting portrays Mary, Christ and a young John the Baptist. Mary is the focus of the painting. Her face is situated at the apex of the pyramidal composition and her body fills most of the rest. She is holding the Christ child, who is standing at her foot to her right. John the Baptist is on the ground to the left of Mary and is holding his reed cross with his right hand. Mary is holding a book in the hand that is resting on her lap. There are faint halos around all of their heads, a feature that disappears in the High Renaissance. The landscape of the painting is that of a beautiful countryside garden. Raphael used a unified naturalistic composition with rich and luminous colors and blended light and shadows to help create a highly realistic atmosphere.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: Focus on La belle jardinière and explain the Analysis.

One of this painting's defining features is the Madonna. She is the focus of the painting. She has a protective arm around Christ as he looks up at her while standing on one of her feet, showing a sense of dependency and childlike trust. On the other side kneels John the Baptist holding one of the two religious symbols seen in the work. Raphael diverged from the previous practice of placing multiple religious symbols in a piece. Instead he combines religious iconography and beautiful landscapes to show both humanism and the teaching of the Catholic Church. The other religious symbol seen is the faint halos that disappeared as artists entered the High Renaissance. The book that the Madonna is holding is believed to contain the foretelling of Christ's death. The way Raphael composed the painting creates a sense of intimacy between Mary and Christ, with John the Baptist as witness. The positions of Mary and Christ, and to a lesser extent John the Baptist, serve as a prefiguration of the Passion and eventual death of Christ. The book Mary hold tells of these eventual events.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: Explain the Analysis of this artwork, La belle jardinière.

One of this painting's defining features is the Madonna. She is the focus of the painting. She has a protective arm around Christ as he looks up at her while standing on one of her feet, showing a sense of dependency and childlike trust. On the other side kneels John the Baptist holding one of the two religious symbols seen in the work. Raphael diverged from the previous practice of placing multiple religious symbols in a piece. Instead he combines religious iconography and beautiful landscapes to show both humanism and the teaching of the Catholic Church. The other religious symbol seen is the faint halos that disappeared as artists entered the High Renaissance. The book that the Madonna is holding is believed to contain the foretelling of Christ's death. The way Raphael composed the painting creates a sense of intimacy between Mary and Christ, with John the Baptist as witness. The positions of Mary and Christ, and to a lesser extent John the Baptist, serve as a prefiguration of the Passion and eventual death of Christ. The book Mary hold tells of these eventual events.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: How does La belle jardinière explain its Analysis?

One of this painting's defining features is the Madonna. She is the focus of the painting. She has a protective arm around Christ as he looks up at her while standing on one of her feet, showing a sense of dependency and childlike trust. On the other side kneels John the Baptist holding one of the two religious symbols seen in the work. Raphael diverged from the previous practice of placing multiple religious symbols in a piece. Instead he combines religious iconography and beautiful landscapes to show both humanism and the teaching of the Catholic Church. The other religious symbol seen is the faint halos that disappeared as artists entered the High Renaissance. The book that the Madonna is holding is believed to contain the foretelling of Christ's death. The way Raphael composed the painting creates a sense of intimacy between Mary and Christ, with John the Baptist as witness. The positions of Mary and Christ, and to a lesser extent John the Baptist, serve as a prefiguration of the Passion and eventual death of Christ. The book Mary hold tells of these eventual events.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: In La belle jardinière, how is the Analysis discussed?

One of this painting's defining features is the Madonna. She is the focus of the painting. She has a protective arm around Christ as he looks up at her while standing on one of her feet, showing a sense of dependency and childlike trust. On the other side kneels John the Baptist holding one of the two religious symbols seen in the work. Raphael diverged from the previous practice of placing multiple religious symbols in a piece. Instead he combines religious iconography and beautiful landscapes to show both humanism and the teaching of the Catholic Church. The other religious symbol seen is the faint halos that disappeared as artists entered the High Renaissance. The book that the Madonna is holding is believed to contain the foretelling of Christ's death. The way Raphael composed the painting creates a sense of intimacy between Mary and Christ, with John the Baptist as witness. The positions of Mary and Christ, and to a lesser extent John the Baptist, serve as a prefiguration of the Passion and eventual death of Christ. The book Mary hold tells of these eventual events.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: Focus on La belle jardinière and explain the Style.

Raphael studied the works of Leonardo da Vinci, Michelangelo Buonarroti, and Fra Bartolommeo while in Florence. He traded his use of stiff compositions that were popular during his Umbrian phase in favor of a newer style influenced by his study of these other artist. This painting in particular appears to be derived from Leonardo's models, such as The Virgin and Child with Saint Anne.The painting echoes the spacious landscapes of Pietro Perugino. He also utilized the popular pyramid composition common with art in the High Renaissance as well as the sfumato technique. Another feature seen in La Belle Jardinière is the highly idealized beauty and grace of the Madonna. Despite taking inspiration from other artist, Raphael was able to move past just recreating others works and add his own styles to benefit his works.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: Explain the Style of this artwork, La belle jardinière.

Raphael studied the works of Leonardo da Vinci, Michelangelo Buonarroti, and Fra Bartolommeo while in Florence. He traded his use of stiff compositions that were popular during his Umbrian phase in favor of a newer style influenced by his study of these other artist. This painting in particular appears to be derived from Leonardo's models, such as The Virgin and Child with Saint Anne.The painting echoes the spacious landscapes of Pietro Perugino. He also utilized the popular pyramid composition common with art in the High Renaissance as well as the sfumato technique. Another feature seen in La Belle Jardinière is the highly idealized beauty and grace of the Madonna. Despite taking inspiration from other artist, Raphael was able to move past just recreating others works and add his own styles to benefit his works.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: How does La belle jardinière explain its Style?

Raphael studied the works of Leonardo da Vinci, Michelangelo Buonarroti, and Fra Bartolommeo while in Florence. He traded his use of stiff compositions that were popular during his Umbrian phase in favor of a newer style influenced by his study of these other artist. This painting in particular appears to be derived from Leonardo's models, such as The Virgin and Child with Saint Anne.The painting echoes the spacious landscapes of Pietro Perugino. He also utilized the popular pyramid composition common with art in the High Renaissance as well as the sfumato technique. Another feature seen in La Belle Jardinière is the highly idealized beauty and grace of the Madonna. Despite taking inspiration from other artist, Raphael was able to move past just recreating others works and add his own styles to benefit his works.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


La belle jardinière

Prompt: In La belle jardinière, how is the Style discussed?

Raphael studied the works of Leonardo da Vinci, Michelangelo Buonarroti, and Fra Bartolommeo while in Florence. He traded his use of stiff compositions that were popular during his Umbrian phase in favor of a newer style influenced by his study of these other artist. This painting in particular appears to be derived from Leonardo's models, such as The Virgin and Child with Saint Anne.The painting echoes the spacious landscapes of Pietro Perugino. He also utilized the popular pyramid composition common with art in the High Renaissance as well as the sfumato technique. Another feature seen in La Belle Jardinière is the highly idealized beauty and grace of the Madonna. Despite taking inspiration from other artist, Raphael was able to move past just recreating others works and add his own styles to benefit his works.

The Virgin and Child with St. Anne (Leonardo)

Category:Paintings of the Madonna and Child by Raphael

Category:Paintings in the Louvre by Italian artists


The Bathers (Cézanne)

Prompt: Focus on The Bathers (Cézanne) and explain the abstract.

The Bathers (French: Les Grandes Baigneuses) is an oil painting by French artist Paul Cézanne (1839–1906) first exhibited in 1906. The painting, which is exhibited in the Philadelphia Museum of Art, is the largest of a series of Bather paintings by Cézanne; the others are in the Museum of Modern Art in New York City, National Gallery, London, the Barnes Foundation, Pennsylvania, and the Art Institute of Chicago. Occasionally referred to as the Big Bathers or Large Bathers to distinguish it from the smaller works, the painting is considered one of the masterpieces of modern art, and is often considered Cézanne's finest work.Cézanne worked on the painting for seven years, and it remained unfinished at the time of his death in 1906. The painting was purchased in 1937 for $110,000 with funds from a trust fund for the Philadelphia Museum of Art by their major benefactor, Joseph E. Widener.  It was previously owned by Leo Stein.With each version of the Bathers, Cézanne moved away from the traditional presentation of paintings, intentionally creating works that would not appeal to the novice viewer. He did this to avoid fleeting fads and give a timeless quality to his work, and in so doing paved the way for future artists to disregard current trends and paint pieces that would appeal equally to all generations. The abstract nude females present in Large Bathers give the painting tension and density. It is exceptional among his work in symmetrical dimensions, with the adaptation of the nude forms to the triangular pattern of the trees and river. Using the same technique as employed in painting landscapes and still lifes, Large Bathers is reminiscent of the work of Titian and Peter Paul Rubens. Comparisons are also often made with the other famous group of nude women of the same period, Picasso's Les Demoiselles d'Avignon.The purchase of the painting, while generally praised, was nevertheless questioned by The Philadelphia Record, which noted that 41,000 (or ten percent) of Philadelphia's residents were without bathtubs, and that the money could therefore have been better spent elsewhere. While Cézanne's drawing ability has always been criticized, a critic once said that he "made the ineptly drawn Bathers a warm evocation of leisurely summer bliss." The painting was featured in the 1980 BBC Two series 100 Great Paintings.

Category:Paintings in the Hermitage Museum

Category:Paintings in the National Gallery, London

Category:Paintings in the Philadelphia Museum of Art

Category:Paintings in the Art Institute of Chicago


The Bathers (Cézanne)

Prompt: Explain the abstract of this artwork, The Bathers (Cézanne).

The Bathers (French: Les Grandes Baigneuses) is an oil painting by French artist Paul Cézanne (1839–1906) first exhibited in 1906. The painting, which is exhibited in the Philadelphia Museum of Art, is the largest of a series of Bather paintings by Cézanne; the others are in the Museum of Modern Art in New York City, National Gallery, London, the Barnes Foundation, Pennsylvania, and the Art Institute of Chicago. Occasionally referred to as the Big Bathers or Large Bathers to distinguish it from the smaller works, the painting is considered one of the masterpieces of modern art, and is often considered Cézanne's finest work.Cézanne worked on the painting for seven years, and it remained unfinished at the time of his death in 1906. The painting was purchased in 1937 for $110,000 with funds from a trust fund for the Philadelphia Museum of Art by their major benefactor, Joseph E. Widener.  It was previously owned by Leo Stein.With each version of the Bathers, Cézanne moved away from the traditional presentation of paintings, intentionally creating works that would not appeal to the novice viewer. He did this to avoid fleeting fads and give a timeless quality to his work, and in so doing paved the way for future artists to disregard current trends and paint pieces that would appeal equally to all generations. The abstract nude females present in Large Bathers give the painting tension and density. It is exceptional among his work in symmetrical dimensions, with the adaptation of the nude forms to the triangular pattern of the trees and river. Using the same technique as employed in painting landscapes and still lifes, Large Bathers is reminiscent of the work of Titian and Peter Paul Rubens. Comparisons are also often made with the other famous group of nude women of the same period, Picasso's Les Demoiselles d'Avignon.The purchase of the painting, while generally praised, was nevertheless questioned by The Philadelphia Record, which noted that 41,000 (or ten percent) of Philadelphia's residents were without bathtubs, and that the money could therefore have been better spent elsewhere. While Cézanne's drawing ability has always been criticized, a critic once said that he "made the ineptly drawn Bathers a warm evocation of leisurely summer bliss." The painting was featured in the 1980 BBC Two series 100 Great Paintings.

Category:Paintings in the Hermitage Museum

Category:Paintings in the National Gallery, London

Category:Paintings in the Philadelphia Museum of Art

Category:Paintings in the Art Institute of Chicago


The Bathers (Cézanne)

Prompt: How does The Bathers (Cézanne) explain its abstract?

The Bathers (French: Les Grandes Baigneuses) is an oil painting by French artist Paul Cézanne (1839–1906) first exhibited in 1906. The painting, which is exhibited in the Philadelphia Museum of Art, is the largest of a series of Bather paintings by Cézanne; the others are in the Museum of Modern Art in New York City, National Gallery, London, the Barnes Foundation, Pennsylvania, and the Art Institute of Chicago. Occasionally referred to as the Big Bathers or Large Bathers to distinguish it from the smaller works, the painting is considered one of the masterpieces of modern art, and is often considered Cézanne's finest work.Cézanne worked on the painting for seven years, and it remained unfinished at the time of his death in 1906. The painting was purchased in 1937 for $110,000 with funds from a trust fund for the Philadelphia Museum of Art by their major benefactor, Joseph E. Widener.  It was previously owned by Leo Stein.With each version of the Bathers, Cézanne moved away from the traditional presentation of paintings, intentionally creating works that would not appeal to the novice viewer. He did this to avoid fleeting fads and give a timeless quality to his work, and in so doing paved the way for future artists to disregard current trends and paint pieces that would appeal equally to all generations. The abstract nude females present in Large Bathers give the painting tension and density. It is exceptional among his work in symmetrical dimensions, with the adaptation of the nude forms to the triangular pattern of the trees and river. Using the same technique as employed in painting landscapes and still lifes, Large Bathers is reminiscent of the work of Titian and Peter Paul Rubens. Comparisons are also often made with the other famous group of nude women of the same period, Picasso's Les Demoiselles d'Avignon.The purchase of the painting, while generally praised, was nevertheless questioned by The Philadelphia Record, which noted that 41,000 (or ten percent) of Philadelphia's residents were without bathtubs, and that the money could therefore have been better spent elsewhere. While Cézanne's drawing ability has always been criticized, a critic once said that he "made the ineptly drawn Bathers a warm evocation of leisurely summer bliss." The painting was featured in the 1980 BBC Two series 100 Great Paintings.

Category:Paintings in the Hermitage Museum

Category:Paintings in the National Gallery, London

Category:Paintings in the Philadelphia Museum of Art

Category:Paintings in the Art Institute of Chicago


The Bathers (Cézanne)

Prompt: In The Bathers (Cézanne), how is the abstract discussed?

The Bathers (French: Les Grandes Baigneuses) is an oil painting by French artist Paul Cézanne (1839–1906) first exhibited in 1906. The painting, which is exhibited in the Philadelphia Museum of Art, is the largest of a series of Bather paintings by Cézanne; the others are in the Museum of Modern Art in New York City, National Gallery, London, the Barnes Foundation, Pennsylvania, and the Art Institute of Chicago. Occasionally referred to as the Big Bathers or Large Bathers to distinguish it from the smaller works, the painting is considered one of the masterpieces of modern art, and is often considered Cézanne's finest work.Cézanne worked on the painting for seven years, and it remained unfinished at the time of his death in 1906. The painting was purchased in 1937 for $110,000 with funds from a trust fund for the Philadelphia Museum of Art by their major benefactor, Joseph E. Widener.  It was previously owned by Leo Stein.With each version of the Bathers, Cézanne moved away from the traditional presentation of paintings, intentionally creating works that would not appeal to the novice viewer. He did this to avoid fleeting fads and give a timeless quality to his work, and in so doing paved the way for future artists to disregard current trends and paint pieces that would appeal equally to all generations. The abstract nude females present in Large Bathers give the painting tension and density. It is exceptional among his work in symmetrical dimensions, with the adaptation of the nude forms to the triangular pattern of the trees and river. Using the same technique as employed in painting landscapes and still lifes, Large Bathers is reminiscent of the work of Titian and Peter Paul Rubens. Comparisons are also often made with the other famous group of nude women of the same period, Picasso's Les Demoiselles d'Avignon.The purchase of the painting, while generally praised, was nevertheless questioned by The Philadelphia Record, which noted that 41,000 (or ten percent) of Philadelphia's residents were without bathtubs, and that the money could therefore have been better spent elsewhere. While Cézanne's drawing ability has always been criticized, a critic once said that he "made the ineptly drawn Bathers a warm evocation of leisurely summer bliss." The painting was featured in the 1980 BBC Two series 100 Great Paintings.

Category:Paintings in the Hermitage Museum

Category:Paintings in the National Gallery, London

Category:Paintings in the Philadelphia Museum of Art

Category:Paintings in the Art Institute of Chicago


George Washington (Greenough)

Prompt: Focus on George Washington (Greenough) and explain the abstract.

George Washington, also known as Enthroned Washington, is a large marble sculpture by Horatio Greenough commissioned by the United States Congress on July 14, 1832 for the centennial of U.S. President George Washington's birth on February 22, 1732. Completed in 1840, the statue was soon exhibited in the Rotunda of the United States Capitol and then moved to the Capitol's east lawn in 1843. Since 1964, it has been in the National Museum of American History.Horatio Greenough based Enthroned Washington on Phidias' Statue of Zeus at Olympia, one of the Seven Wonders of the Ancient World which was destroyed in Late Antiquity.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: Explain the abstract of this artwork, George Washington (Greenough).

George Washington, also known as Enthroned Washington, is a large marble sculpture by Horatio Greenough commissioned by the United States Congress on July 14, 1832 for the centennial of U.S. President George Washington's birth on February 22, 1732. Completed in 1840, the statue was soon exhibited in the Rotunda of the United States Capitol and then moved to the Capitol's east lawn in 1843. Since 1964, it has been in the National Museum of American History.Horatio Greenough based Enthroned Washington on Phidias' Statue of Zeus at Olympia, one of the Seven Wonders of the Ancient World which was destroyed in Late Antiquity.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: How does George Washington (Greenough) explain its abstract?

George Washington, also known as Enthroned Washington, is a large marble sculpture by Horatio Greenough commissioned by the United States Congress on July 14, 1832 for the centennial of U.S. President George Washington's birth on February 22, 1732. Completed in 1840, the statue was soon exhibited in the Rotunda of the United States Capitol and then moved to the Capitol's east lawn in 1843. Since 1964, it has been in the National Museum of American History.Horatio Greenough based Enthroned Washington on Phidias' Statue of Zeus at Olympia, one of the Seven Wonders of the Ancient World which was destroyed in Late Antiquity.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: In George Washington (Greenough), how is the abstract discussed?

George Washington, also known as Enthroned Washington, is a large marble sculpture by Horatio Greenough commissioned by the United States Congress on July 14, 1832 for the centennial of U.S. President George Washington's birth on February 22, 1732. Completed in 1840, the statue was soon exhibited in the Rotunda of the United States Capitol and then moved to the Capitol's east lawn in 1843. Since 1964, it has been in the National Museum of American History.Horatio Greenough based Enthroned Washington on Phidias' Statue of Zeus at Olympia, one of the Seven Wonders of the Ancient World which was destroyed in Late Antiquity.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: Focus on George Washington (Greenough) and explain the Description.

The seated and sandal wearing Washington gazes sternly ahead. He is bare-chested and his right arm and hand gesture with upraised index finger toward Heaven. His left palm and forearm cradle a sheathed sword, hilt forward, symbolizing Washington turning over power to the people at the conclusion of the American Revolutionary War. The representation of Washington in Roman clothing is indicative of Neoclassical art.The original Latin inscription, on the back of the statue reads:and translates as:  "Horatio Greenough made this image as a great example of freedom, which will not survive without freedom itself."

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: Explain the Description of this artwork, George Washington (Greenough).

The seated and sandal wearing Washington gazes sternly ahead. He is bare-chested and his right arm and hand gesture with upraised index finger toward Heaven. His left palm and forearm cradle a sheathed sword, hilt forward, symbolizing Washington turning over power to the people at the conclusion of the American Revolutionary War. The representation of Washington in Roman clothing is indicative of Neoclassical art.The original Latin inscription, on the back of the statue reads:and translates as:  "Horatio Greenough made this image as a great example of freedom, which will not survive without freedom itself."

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: How does George Washington (Greenough) explain its Description?

The seated and sandal wearing Washington gazes sternly ahead. He is bare-chested and his right arm and hand gesture with upraised index finger toward Heaven. His left palm and forearm cradle a sheathed sword, hilt forward, symbolizing Washington turning over power to the people at the conclusion of the American Revolutionary War. The representation of Washington in Roman clothing is indicative of Neoclassical art.The original Latin inscription, on the back of the statue reads:and translates as:  "Horatio Greenough made this image as a great example of freedom, which will not survive without freedom itself."

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: In George Washington (Greenough), how is the Description discussed?

The seated and sandal wearing Washington gazes sternly ahead. He is bare-chested and his right arm and hand gesture with upraised index finger toward Heaven. His left palm and forearm cradle a sheathed sword, hilt forward, symbolizing Washington turning over power to the people at the conclusion of the American Revolutionary War. The representation of Washington in Roman clothing is indicative of Neoclassical art.The original Latin inscription, on the back of the statue reads:and translates as:  "Horatio Greenough made this image as a great example of freedom, which will not survive without freedom itself."

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: Focus on George Washington (Greenough) and explain the History.

On July 14, 1832, the U.S. Congress commissioned Greenough to create a statue of Washington for display in the U.S. Capitol rotunda.When the marble statue arrived in Washington, D.C. from Italy on July 31, 1841 it immediately generated controversy and criticism on its installation in the rotunda in December 1841.Many found the sight of a half-naked Washington offensive, even comical.Because of the sculpture's weight and the dim light inside the rotunda, the statue was relocated to a pedestal on the east lawn of the Capitol in 1843.Disapproval continued and some joked that Washington was desperately reaching for his clothes, then on exhibit at the Patent Office several blocks to the north.The statue was brought back indoors to the Smithsonian Castle, after Congress authorized its transfer by joint resolution on May 22, 1908. It remained there until 1964.  It was then moved to the new Museum of History and Technology (now the National Museum of American History). The statue has been exhibited on the second floor of the museum since then.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: Explain the History of this artwork, George Washington (Greenough).

On July 14, 1832, the U.S. Congress commissioned Greenough to create a statue of Washington for display in the U.S. Capitol rotunda.When the marble statue arrived in Washington, D.C. from Italy on July 31, 1841 it immediately generated controversy and criticism on its installation in the rotunda in December 1841.Many found the sight of a half-naked Washington offensive, even comical.Because of the sculpture's weight and the dim light inside the rotunda, the statue was relocated to a pedestal on the east lawn of the Capitol in 1843.Disapproval continued and some joked that Washington was desperately reaching for his clothes, then on exhibit at the Patent Office several blocks to the north.The statue was brought back indoors to the Smithsonian Castle, after Congress authorized its transfer by joint resolution on May 22, 1908. It remained there until 1964.  It was then moved to the new Museum of History and Technology (now the National Museum of American History). The statue has been exhibited on the second floor of the museum since then.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: How does George Washington (Greenough) explain its History?

On July 14, 1832, the U.S. Congress commissioned Greenough to create a statue of Washington for display in the U.S. Capitol rotunda.When the marble statue arrived in Washington, D.C. from Italy on July 31, 1841 it immediately generated controversy and criticism on its installation in the rotunda in December 1841.Many found the sight of a half-naked Washington offensive, even comical.Because of the sculpture's weight and the dim light inside the rotunda, the statue was relocated to a pedestal on the east lawn of the Capitol in 1843.Disapproval continued and some joked that Washington was desperately reaching for his clothes, then on exhibit at the Patent Office several blocks to the north.The statue was brought back indoors to the Smithsonian Castle, after Congress authorized its transfer by joint resolution on May 22, 1908. It remained there until 1964.  It was then moved to the new Museum of History and Technology (now the National Museum of American History). The statue has been exhibited on the second floor of the museum since then.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: In George Washington (Greenough), how is the History discussed?

On July 14, 1832, the U.S. Congress commissioned Greenough to create a statue of Washington for display in the U.S. Capitol rotunda.When the marble statue arrived in Washington, D.C. from Italy on July 31, 1841 it immediately generated controversy and criticism on its installation in the rotunda in December 1841.Many found the sight of a half-naked Washington offensive, even comical.Because of the sculpture's weight and the dim light inside the rotunda, the statue was relocated to a pedestal on the east lawn of the Capitol in 1843.Disapproval continued and some joked that Washington was desperately reaching for his clothes, then on exhibit at the Patent Office several blocks to the north.The statue was brought back indoors to the Smithsonian Castle, after Congress authorized its transfer by joint resolution on May 22, 1908. It remained there until 1964.  It was then moved to the new Museum of History and Technology (now the National Museum of American History). The statue has been exhibited on the second floor of the museum since then.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: Focus on George Washington (Greenough) and explain the Popular culture references.

The demigod/Baphomet-like pose of Washington is portrayed in Dan Brown's best-selling novel The Lost Symbol (2009), in which the author describes a hypothesis according to which Washington and the other Founding Fathers decorated the national capital full of Freemason or occult symbols.The statue appears near the beginning of the 2013 first-person shooter, BioShock Infinite, set in an alternate 1912 where Washington, Benjamin Franklin, and Thomas Jefferson are worshiped by the inhabitants of the floating city of Columbia.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: Explain the Popular culture references of this artwork, George Washington (Greenough).

The demigod/Baphomet-like pose of Washington is portrayed in Dan Brown's best-selling novel The Lost Symbol (2009), in which the author describes a hypothesis according to which Washington and the other Founding Fathers decorated the national capital full of Freemason or occult symbols.The statue appears near the beginning of the 2013 first-person shooter, BioShock Infinite, set in an alternate 1912 where Washington, Benjamin Franklin, and Thomas Jefferson are worshiped by the inhabitants of the floating city of Columbia.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: How does George Washington (Greenough) explain its Popular culture references?

The demigod/Baphomet-like pose of Washington is portrayed in Dan Brown's best-selling novel The Lost Symbol (2009), in which the author describes a hypothesis according to which Washington and the other Founding Fathers decorated the national capital full of Freemason or occult symbols.The statue appears near the beginning of the 2013 first-person shooter, BioShock Infinite, set in an alternate 1912 where Washington, Benjamin Franklin, and Thomas Jefferson are worshiped by the inhabitants of the floating city of Columbia.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


George Washington (Greenough)

Prompt: In George Washington (Greenough), how is the Popular culture references discussed?

The demigod/Baphomet-like pose of Washington is portrayed in Dan Brown's best-selling novel The Lost Symbol (2009), in which the author describes a hypothesis according to which Washington and the other Founding Fathers decorated the national capital full of Freemason or occult symbols.The statue appears near the beginning of the 2013 first-person shooter, BioShock Infinite, set in an alternate 1912 where Washington, Benjamin Franklin, and Thomas Jefferson are worshiped by the inhabitants of the floating city of Columbia.

List of monuments dedicated to George Washington

List of sculptures of presidents of the United States

Category:Sculptures in the Smithsonian Institution

Category:Outdoor sculptures in Washington, D.C.

The statue on display in the west wing of the [[Smithsonian Castle

George Washington's resignation as commander-in-chief

File:Smithsonian Institution Building west wing 1920s.jpg

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

''George Washington'' (Photo, ''ca.'' 1899)

File:Horatio Greenough statue of George Washington.jpg

Category:Sculptures by Horatio Greenough

Category:Monuments and memorials to George Washington in the United States

Category:Marble sculptures in Washington, D.C.

Category:1840 establishments in Washington, D.C.


Nuclear Energy (sculpture)

Prompt: Focus on Nuclear Energy (sculpture) and explain the abstract.

Nuclear Energy (1964–1966) (LH 526) is a bronze sculpture by Henry Moore on the campus of the University of Chicago at the site of the world's first nuclear reactor, Chicago Pile-1. The first human-made self-sustaining nuclear chain reaction was created here on December 2, 1942.  The sculpture is set in a granite paved quadrangle, with the paving stones radiating outward from the sculpture, and memorial plaques mounted on a adjacent wall.  The memorial site is a National Historic Landmark and Chicago Landmark.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: Explain the abstract of this artwork, Nuclear Energy (sculpture).

Nuclear Energy (1964–1966) (LH 526) is a bronze sculpture by Henry Moore on the campus of the University of Chicago at the site of the world's first nuclear reactor, Chicago Pile-1. The first human-made self-sustaining nuclear chain reaction was created here on December 2, 1942.  The sculpture is set in a granite paved quadrangle, with the paving stones radiating outward from the sculpture, and memorial plaques mounted on a adjacent wall.  The memorial site is a National Historic Landmark and Chicago Landmark.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: How does Nuclear Energy (sculpture) explain its abstract?

Nuclear Energy (1964–1966) (LH 526) is a bronze sculpture by Henry Moore on the campus of the University of Chicago at the site of the world's first nuclear reactor, Chicago Pile-1. The first human-made self-sustaining nuclear chain reaction was created here on December 2, 1942.  The sculpture is set in a granite paved quadrangle, with the paving stones radiating outward from the sculpture, and memorial plaques mounted on a adjacent wall.  The memorial site is a National Historic Landmark and Chicago Landmark.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: In Nuclear Energy (sculpture), how is the abstract discussed?

Nuclear Energy (1964–1966) (LH 526) is a bronze sculpture by Henry Moore on the campus of the University of Chicago at the site of the world's first nuclear reactor, Chicago Pile-1. The first human-made self-sustaining nuclear chain reaction was created here on December 2, 1942.  The sculpture is set in a granite paved quadrangle, with the paving stones radiating outward from the sculpture, and memorial plaques mounted on a adjacent wall.  The memorial site is a National Historic Landmark and Chicago Landmark.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: Focus on Nuclear Energy (sculpture) and explain the Location.

Nuclear Energy is on Ellis Avenue, between the Max Palevsky West dormitory and the Mansueto Library in the Hyde Park community area of Chicago. It sits on a square, granite paved, concrete platform at the spot where the Manhattan Project team built a nuclear reactor to produce the first self-sustaining controlled nuclear reaction, under the now-demolished west stands of the old Stagg Field.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: Explain the Location of this artwork, Nuclear Energy (sculpture).

Nuclear Energy is on Ellis Avenue, between the Max Palevsky West dormitory and the Mansueto Library in the Hyde Park community area of Chicago. It sits on a square, granite paved, concrete platform at the spot where the Manhattan Project team built a nuclear reactor to produce the first self-sustaining controlled nuclear reaction, under the now-demolished west stands of the old Stagg Field.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: How does Nuclear Energy (sculpture) explain its Location?

Nuclear Energy is on Ellis Avenue, between the Max Palevsky West dormitory and the Mansueto Library in the Hyde Park community area of Chicago. It sits on a square, granite paved, concrete platform at the spot where the Manhattan Project team built a nuclear reactor to produce the first self-sustaining controlled nuclear reaction, under the now-demolished west stands of the old Stagg Field.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: In Nuclear Energy (sculpture), how is the Location discussed?

Nuclear Energy is on Ellis Avenue, between the Max Palevsky West dormitory and the Mansueto Library in the Hyde Park community area of Chicago. It sits on a square, granite paved, concrete platform at the spot where the Manhattan Project team built a nuclear reactor to produce the first self-sustaining controlled nuclear reaction, under the now-demolished west stands of the old Stagg Field.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: Focus on Nuclear Energy (sculpture) and explain the History.

The sculpture was commissioned by the B. F. Ferguson monument fund. In 1973, Henry Moore was quoted in Art Journal as saying:It's a rather strange thing really but I'd already done the idea for this sculpture before Professor McNeill and his colleagues from the University of Chicago came to see me on Sunday morning to tell me about the whole proposition. They told me (which I'd only vaguely known) that Fermi, the Italian nuclear physicist, started or really made the first successful controlled nuclear fission in a temporary building. I think it was a squash court – a wooden building – which from the outside looked entirely unlike where a thing of such an important nature might take place. But this experiment was carried on in secret and it meant that by being successful Man was able to control this huge force for peaceful purposes as well as destructive ones. They came to me to tell me that they thought where such an important event in history took place ought to be marked and they wondered whether I would do a sculpture which would stand on the spot. (Art Journal, New York, spring 1973, p.286)The sculpture is described as 14.0 feet (4.3 m) in height and 8 feet (2.4 m) in diameter by the Smithsonian Institution and it sits atop a base that is 1.5 feet (0.46 m) in height and 10 feet (3.0 m) in diameter.  However, the University of Chicago says it is only 12 feet (3.7 m) in height. The Henry Moore Foundation lists its height at 3.66m.The sculpture was erected for and dedicated at the celebration of the 25th anniversary of the initiation of the first self-sustaining controlled nuclear reaction by Enrico Fermi on December 2, 1942.  It was unveiled at precisely 3:36 p.m. on December 2, 1967. The site of the first nuclear reaction was designated as a National Historic Landmark on February 18, 1965. Along with three other Chicago locations, it was one of the original places included when the National Register of Historic Places (NRHP) launched on October 15, 1966. The site was named a Chicago Landmark on October 27, 1971.  Four plaques on a nearby granite wall mark the site. The oldest was originally placed in 1947 on the wall of the old stadium, while the other plaques mark the installation of the sculpture and the historic designations of the site.A working model for Nuclear Energy ("Atom Piece (Working Model for Nuclear Energy) 1964–65") is on display at the Hiroshima City Museum of Contemporary Art, Japan. "Atom Piece" (Working Model for Nuclear Energy) can also be found at the Hakone Open-Air Museum.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: Explain the History of this artwork, Nuclear Energy (sculpture).

The sculpture was commissioned by the B. F. Ferguson monument fund. In 1973, Henry Moore was quoted in Art Journal as saying:It's a rather strange thing really but I'd already done the idea for this sculpture before Professor McNeill and his colleagues from the University of Chicago came to see me on Sunday morning to tell me about the whole proposition. They told me (which I'd only vaguely known) that Fermi, the Italian nuclear physicist, started or really made the first successful controlled nuclear fission in a temporary building. I think it was a squash court – a wooden building – which from the outside looked entirely unlike where a thing of such an important nature might take place. But this experiment was carried on in secret and it meant that by being successful Man was able to control this huge force for peaceful purposes as well as destructive ones. They came to me to tell me that they thought where such an important event in history took place ought to be marked and they wondered whether I would do a sculpture which would stand on the spot. (Art Journal, New York, spring 1973, p.286)The sculpture is described as 14.0 feet (4.3 m) in height and 8 feet (2.4 m) in diameter by the Smithsonian Institution and it sits atop a base that is 1.5 feet (0.46 m) in height and 10 feet (3.0 m) in diameter.  However, the University of Chicago says it is only 12 feet (3.7 m) in height. The Henry Moore Foundation lists its height at 3.66m.The sculpture was erected for and dedicated at the celebration of the 25th anniversary of the initiation of the first self-sustaining controlled nuclear reaction by Enrico Fermi on December 2, 1942.  It was unveiled at precisely 3:36 p.m. on December 2, 1967. The site of the first nuclear reaction was designated as a National Historic Landmark on February 18, 1965. Along with three other Chicago locations, it was one of the original places included when the National Register of Historic Places (NRHP) launched on October 15, 1966. The site was named a Chicago Landmark on October 27, 1971.  Four plaques on a nearby granite wall mark the site. The oldest was originally placed in 1947 on the wall of the old stadium, while the other plaques mark the installation of the sculpture and the historic designations of the site.A working model for Nuclear Energy ("Atom Piece (Working Model for Nuclear Energy) 1964–65") is on display at the Hiroshima City Museum of Contemporary Art, Japan. "Atom Piece" (Working Model for Nuclear Energy) can also be found at the Hakone Open-Air Museum.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: How does Nuclear Energy (sculpture) explain its History?

The sculpture was commissioned by the B. F. Ferguson monument fund. In 1973, Henry Moore was quoted in Art Journal as saying:It's a rather strange thing really but I'd already done the idea for this sculpture before Professor McNeill and his colleagues from the University of Chicago came to see me on Sunday morning to tell me about the whole proposition. They told me (which I'd only vaguely known) that Fermi, the Italian nuclear physicist, started or really made the first successful controlled nuclear fission in a temporary building. I think it was a squash court – a wooden building – which from the outside looked entirely unlike where a thing of such an important nature might take place. But this experiment was carried on in secret and it meant that by being successful Man was able to control this huge force for peaceful purposes as well as destructive ones. They came to me to tell me that they thought where such an important event in history took place ought to be marked and they wondered whether I would do a sculpture which would stand on the spot. (Art Journal, New York, spring 1973, p.286)The sculpture is described as 14.0 feet (4.3 m) in height and 8 feet (2.4 m) in diameter by the Smithsonian Institution and it sits atop a base that is 1.5 feet (0.46 m) in height and 10 feet (3.0 m) in diameter.  However, the University of Chicago says it is only 12 feet (3.7 m) in height. The Henry Moore Foundation lists its height at 3.66m.The sculpture was erected for and dedicated at the celebration of the 25th anniversary of the initiation of the first self-sustaining controlled nuclear reaction by Enrico Fermi on December 2, 1942.  It was unveiled at precisely 3:36 p.m. on December 2, 1967. The site of the first nuclear reaction was designated as a National Historic Landmark on February 18, 1965. Along with three other Chicago locations, it was one of the original places included when the National Register of Historic Places (NRHP) launched on October 15, 1966. The site was named a Chicago Landmark on October 27, 1971.  Four plaques on a nearby granite wall mark the site. The oldest was originally placed in 1947 on the wall of the old stadium, while the other plaques mark the installation of the sculpture and the historic designations of the site.A working model for Nuclear Energy ("Atom Piece (Working Model for Nuclear Energy) 1964–65") is on display at the Hiroshima City Museum of Contemporary Art, Japan. "Atom Piece" (Working Model for Nuclear Energy) can also be found at the Hakone Open-Air Museum.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: In Nuclear Energy (sculpture), how is the History discussed?

The sculpture was commissioned by the B. F. Ferguson monument fund. In 1973, Henry Moore was quoted in Art Journal as saying:It's a rather strange thing really but I'd already done the idea for this sculpture before Professor McNeill and his colleagues from the University of Chicago came to see me on Sunday morning to tell me about the whole proposition. They told me (which I'd only vaguely known) that Fermi, the Italian nuclear physicist, started or really made the first successful controlled nuclear fission in a temporary building. I think it was a squash court – a wooden building – which from the outside looked entirely unlike where a thing of such an important nature might take place. But this experiment was carried on in secret and it meant that by being successful Man was able to control this huge force for peaceful purposes as well as destructive ones. They came to me to tell me that they thought where such an important event in history took place ought to be marked and they wondered whether I would do a sculpture which would stand on the spot. (Art Journal, New York, spring 1973, p.286)The sculpture is described as 14.0 feet (4.3 m) in height and 8 feet (2.4 m) in diameter by the Smithsonian Institution and it sits atop a base that is 1.5 feet (0.46 m) in height and 10 feet (3.0 m) in diameter.  However, the University of Chicago says it is only 12 feet (3.7 m) in height. The Henry Moore Foundation lists its height at 3.66m.The sculpture was erected for and dedicated at the celebration of the 25th anniversary of the initiation of the first self-sustaining controlled nuclear reaction by Enrico Fermi on December 2, 1942.  It was unveiled at precisely 3:36 p.m. on December 2, 1967. The site of the first nuclear reaction was designated as a National Historic Landmark on February 18, 1965. Along with three other Chicago locations, it was one of the original places included when the National Register of Historic Places (NRHP) launched on October 15, 1966. The site was named a Chicago Landmark on October 27, 1971.  Four plaques on a nearby granite wall mark the site. The oldest was originally placed in 1947 on the wall of the old stadium, while the other plaques mark the installation of the sculpture and the historic designations of the site.A working model for Nuclear Energy ("Atom Piece (Working Model for Nuclear Energy) 1964–65") is on display at the Hiroshima City Museum of Contemporary Art, Japan. "Atom Piece" (Working Model for Nuclear Energy) can also be found at the Hakone Open-Air Museum.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: Focus on Nuclear Energy (sculpture) and explain the Themes.

Moore cited a number of inspirations for the sculpture, from earlier works with similar forms to natural objects like stones. About the shape of the sculpture, Moore said:When I had made this working model I showed it to them and they liked my idea because the top of it is like some large mushroom, or a kind of mushroom cloud. Also it has a kind of head shape like the top of the skull but down below is more an architectural cathedral. One might think of the lower part of it being a protective form and constructed for human beings and the top being more like the idea of the destructive side of the atom. So between the two it might express to people in a symbolic way the whole event. (Henry Moore quoted in Art Journal, New York, Spring 1973, p.286)Moore's work explores the hopes and fears of the Atomic Age. The potential of controlled nuclear power or a nuclear holocaust is tied to the historical events of the site with the iconography of a mushroom cloud or skull, supported by pillars topped by arches like a protective cathedral. Interviews with Moore highlight the dual nature of the top and bottom portions of the sculpture, meant to represent the creative and destructive power possible with nuclear energy. An abstract sculpture was chosen by the University to highlight the importance of the events at the site, and their implications for humanity, rather than the importance of Fermi in bringing them about.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: Explain the Themes of this artwork, Nuclear Energy (sculpture).

Moore cited a number of inspirations for the sculpture, from earlier works with similar forms to natural objects like stones. About the shape of the sculpture, Moore said:When I had made this working model I showed it to them and they liked my idea because the top of it is like some large mushroom, or a kind of mushroom cloud. Also it has a kind of head shape like the top of the skull but down below is more an architectural cathedral. One might think of the lower part of it being a protective form and constructed for human beings and the top being more like the idea of the destructive side of the atom. So between the two it might express to people in a symbolic way the whole event. (Henry Moore quoted in Art Journal, New York, Spring 1973, p.286)Moore's work explores the hopes and fears of the Atomic Age. The potential of controlled nuclear power or a nuclear holocaust is tied to the historical events of the site with the iconography of a mushroom cloud or skull, supported by pillars topped by arches like a protective cathedral. Interviews with Moore highlight the dual nature of the top and bottom portions of the sculpture, meant to represent the creative and destructive power possible with nuclear energy. An abstract sculpture was chosen by the University to highlight the importance of the events at the site, and their implications for humanity, rather than the importance of Fermi in bringing them about.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: How does Nuclear Energy (sculpture) explain its Themes?

Moore cited a number of inspirations for the sculpture, from earlier works with similar forms to natural objects like stones. About the shape of the sculpture, Moore said:When I had made this working model I showed it to them and they liked my idea because the top of it is like some large mushroom, or a kind of mushroom cloud. Also it has a kind of head shape like the top of the skull but down below is more an architectural cathedral. One might think of the lower part of it being a protective form and constructed for human beings and the top being more like the idea of the destructive side of the atom. So between the two it might express to people in a symbolic way the whole event. (Henry Moore quoted in Art Journal, New York, Spring 1973, p.286)Moore's work explores the hopes and fears of the Atomic Age. The potential of controlled nuclear power or a nuclear holocaust is tied to the historical events of the site with the iconography of a mushroom cloud or skull, supported by pillars topped by arches like a protective cathedral. Interviews with Moore highlight the dual nature of the top and bottom portions of the sculpture, meant to represent the creative and destructive power possible with nuclear energy. An abstract sculpture was chosen by the University to highlight the importance of the events at the site, and their implications for humanity, rather than the importance of Fermi in bringing them about.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: In Nuclear Energy (sculpture), how is the Themes discussed?

Moore cited a number of inspirations for the sculpture, from earlier works with similar forms to natural objects like stones. About the shape of the sculpture, Moore said:When I had made this working model I showed it to them and they liked my idea because the top of it is like some large mushroom, or a kind of mushroom cloud. Also it has a kind of head shape like the top of the skull but down below is more an architectural cathedral. One might think of the lower part of it being a protective form and constructed for human beings and the top being more like the idea of the destructive side of the atom. So between the two it might express to people in a symbolic way the whole event. (Henry Moore quoted in Art Journal, New York, Spring 1973, p.286)Moore's work explores the hopes and fears of the Atomic Age. The potential of controlled nuclear power or a nuclear holocaust is tied to the historical events of the site with the iconography of a mushroom cloud or skull, supported by pillars topped by arches like a protective cathedral. Interviews with Moore highlight the dual nature of the top and bottom portions of the sculpture, meant to represent the creative and destructive power possible with nuclear energy. An abstract sculpture was chosen by the University to highlight the importance of the events at the site, and their implications for humanity, rather than the importance of Fermi in bringing them about.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: Focus on Nuclear Energy (sculpture) and explain the Reception.

A miniature preliminary cast of the sculpture, entitled Atom Piece, was presented to critics and University of Chicago faculty early. Critics at the Tate Gallery in London were unsure of its meaning; some saw it as complex for combining an optimism about nuclear power with the fear of nuclear destruction, while others found it heavy-handed for alluding to a mushroom cloud or deformed skull directly. The University of Chicago committee, upon viewing a photograph of the work, was concerned with how the monument would influence public interpretations of Fermi's work there, and the University's role in an age of nuclear proliferation. William H. McNeill, the professor who spearheaded the effort to procure the sculpture, consented to purchase the work entitled Atom Piece. However, before unveiling, the name was changed to Nuclear Energy to avoid an objectionable similarity with the phrase 'atom peace'.The form of the sculpture and its mixed reviews were enough to capture media attention. Chicago Sun-Times reporter Burnell Heinecke interviewed Moore and faculty members in 1965, writing:Reports from the faculty indicate humanists have viewed the model as powerful and awe-inspiring, while nuclear physicists consider it threatening and frightening and militaristic ... Prof. Harold Haydon, one of three members of the committee which selected Moore, observed: "Mr. Moore's work will be subject to many interpretations. Certainly it represents a kind of contained power and force. To me, it represents the challenges confronting mankind in the nuclear age—the challenges of a force that can be used to create or to destroy."Recent critics such as James Purdon have situated the monument in historical context as a marker of the beginning of the nuclear age, praised its ability to make the discovery tangible to the viewer, and tracked its relevance to "connected contemporary anxieties" such as the Fukushima Daiichi nuclear disaster.The British conceptual artist Simon Starling's Project for a Masquerade (Hiroshima) tells the story of Moore's Nuclear Energy, focusing on the working model in Hiroshima and the full-scale work in Chicago, and the different meaning the work carries in the two places. The work consists of eight masks, each simultaneously representing a figure in the story of the Moore sculpture and in the sixteenth-century Noh play Eboshi-ori.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: Explain the Reception of this artwork, Nuclear Energy (sculpture).

A miniature preliminary cast of the sculpture, entitled Atom Piece, was presented to critics and University of Chicago faculty early. Critics at the Tate Gallery in London were unsure of its meaning; some saw it as complex for combining an optimism about nuclear power with the fear of nuclear destruction, while others found it heavy-handed for alluding to a mushroom cloud or deformed skull directly. The University of Chicago committee, upon viewing a photograph of the work, was concerned with how the monument would influence public interpretations of Fermi's work there, and the University's role in an age of nuclear proliferation. William H. McNeill, the professor who spearheaded the effort to procure the sculpture, consented to purchase the work entitled Atom Piece. However, before unveiling, the name was changed to Nuclear Energy to avoid an objectionable similarity with the phrase 'atom peace'.The form of the sculpture and its mixed reviews were enough to capture media attention. Chicago Sun-Times reporter Burnell Heinecke interviewed Moore and faculty members in 1965, writing:Reports from the faculty indicate humanists have viewed the model as powerful and awe-inspiring, while nuclear physicists consider it threatening and frightening and militaristic ... Prof. Harold Haydon, one of three members of the committee which selected Moore, observed: "Mr. Moore's work will be subject to many interpretations. Certainly it represents a kind of contained power and force. To me, it represents the challenges confronting mankind in the nuclear age—the challenges of a force that can be used to create or to destroy."Recent critics such as James Purdon have situated the monument in historical context as a marker of the beginning of the nuclear age, praised its ability to make the discovery tangible to the viewer, and tracked its relevance to "connected contemporary anxieties" such as the Fukushima Daiichi nuclear disaster.The British conceptual artist Simon Starling's Project for a Masquerade (Hiroshima) tells the story of Moore's Nuclear Energy, focusing on the working model in Hiroshima and the full-scale work in Chicago, and the different meaning the work carries in the two places. The work consists of eight masks, each simultaneously representing a figure in the story of the Moore sculpture and in the sixteenth-century Noh play Eboshi-ori.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: How does Nuclear Energy (sculpture) explain its Reception?

A miniature preliminary cast of the sculpture, entitled Atom Piece, was presented to critics and University of Chicago faculty early. Critics at the Tate Gallery in London were unsure of its meaning; some saw it as complex for combining an optimism about nuclear power with the fear of nuclear destruction, while others found it heavy-handed for alluding to a mushroom cloud or deformed skull directly. The University of Chicago committee, upon viewing a photograph of the work, was concerned with how the monument would influence public interpretations of Fermi's work there, and the University's role in an age of nuclear proliferation. William H. McNeill, the professor who spearheaded the effort to procure the sculpture, consented to purchase the work entitled Atom Piece. However, before unveiling, the name was changed to Nuclear Energy to avoid an objectionable similarity with the phrase 'atom peace'.The form of the sculpture and its mixed reviews were enough to capture media attention. Chicago Sun-Times reporter Burnell Heinecke interviewed Moore and faculty members in 1965, writing:Reports from the faculty indicate humanists have viewed the model as powerful and awe-inspiring, while nuclear physicists consider it threatening and frightening and militaristic ... Prof. Harold Haydon, one of three members of the committee which selected Moore, observed: "Mr. Moore's work will be subject to many interpretations. Certainly it represents a kind of contained power and force. To me, it represents the challenges confronting mankind in the nuclear age—the challenges of a force that can be used to create or to destroy."Recent critics such as James Purdon have situated the monument in historical context as a marker of the beginning of the nuclear age, praised its ability to make the discovery tangible to the viewer, and tracked its relevance to "connected contemporary anxieties" such as the Fukushima Daiichi nuclear disaster.The British conceptual artist Simon Starling's Project for a Masquerade (Hiroshima) tells the story of Moore's Nuclear Energy, focusing on the working model in Hiroshima and the full-scale work in Chicago, and the different meaning the work carries in the two places. The work consists of eight masks, each simultaneously representing a figure in the story of the Moore sculpture and in the sixteenth-century Noh play Eboshi-ori.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


Nuclear Energy (sculpture)

Prompt: In Nuclear Energy (sculpture), how is the Reception discussed?

A miniature preliminary cast of the sculpture, entitled Atom Piece, was presented to critics and University of Chicago faculty early. Critics at the Tate Gallery in London were unsure of its meaning; some saw it as complex for combining an optimism about nuclear power with the fear of nuclear destruction, while others found it heavy-handed for alluding to a mushroom cloud or deformed skull directly. The University of Chicago committee, upon viewing a photograph of the work, was concerned with how the monument would influence public interpretations of Fermi's work there, and the University's role in an age of nuclear proliferation. William H. McNeill, the professor who spearheaded the effort to procure the sculpture, consented to purchase the work entitled Atom Piece. However, before unveiling, the name was changed to Nuclear Energy to avoid an objectionable similarity with the phrase 'atom peace'.The form of the sculpture and its mixed reviews were enough to capture media attention. Chicago Sun-Times reporter Burnell Heinecke interviewed Moore and faculty members in 1965, writing:Reports from the faculty indicate humanists have viewed the model as powerful and awe-inspiring, while nuclear physicists consider it threatening and frightening and militaristic ... Prof. Harold Haydon, one of three members of the committee which selected Moore, observed: "Mr. Moore's work will be subject to many interpretations. Certainly it represents a kind of contained power and force. To me, it represents the challenges confronting mankind in the nuclear age—the challenges of a force that can be used to create or to destroy."Recent critics such as James Purdon have situated the monument in historical context as a marker of the beginning of the nuclear age, praised its ability to make the discovery tangible to the viewer, and tracked its relevance to "connected contemporary anxieties" such as the Fukushima Daiichi nuclear disaster.The British conceptual artist Simon Starling's Project for a Masquerade (Hiroshima) tells the story of Moore's Nuclear Energy, focusing on the working model in Hiroshima and the full-scale work in Chicago, and the different meaning the work carries in the two places. The work consists of eight masks, each simultaneously representing a figure in the story of the Moore sculpture and in the sixteenth-century Noh play Eboshi-ori.

Category:Nuclear history of the United States

Category:Abstract sculptures in Illinois

Hiroshima City Museum of Contemporary Art

Art Journal (College Art Association journal)


The Battle of San Romano

Prompt: Focus on The Battle of San Romano and explain the abstract.

The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 metres long. According to the National Gallery, the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, London, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.

Equestrian Statue of Niccolò da Tolentino

Category:Paintings in the National Gallery, London

Category:Paintings in the Louvre by Italian artists

Equestrian Monument of Niccolò da Tolentino


The Battle of San Romano

Prompt: Explain the abstract of this artwork, The Battle of San Romano.

The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 metres long. According to the National Gallery, the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, London, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.

Equestrian Statue of Niccolò da Tolentino

Category:Paintings in the National Gallery, London

Category:Paintings in the Louvre by Italian artists

Equestrian Monument of Niccolò da Tolentino


The Battle of San Romano

Prompt: How does The Battle of San Romano explain its abstract?

The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 metres long. According to the National Gallery, the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, London, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.

Equestrian Statue of Niccolò da Tolentino

Category:Paintings in the National Gallery, London

Category:Paintings in the Louvre by Italian artists

Equestrian Monument of Niccolò da Tolentino


The Battle of San Romano

Prompt: In The Battle of San Romano, how is the abstract discussed?

The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 metres long. According to the National Gallery, the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided between three collections, the National Gallery, London, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.

Equestrian Statue of Niccolò da Tolentino

Category:Paintings in the National Gallery, London

Category:Paintings in the Louvre by Italian artists

Equestrian Monument of Niccolò da Tolentino


The Battle of San Romano

Prompt: Focus on The Battle of San Romano and explain the Subject.

The three paintings are:The Uffizi panel was probably designed to be the central painting of the triptych and is the only one signed by the artist.  The sequence most widely agreed among art historians is: London, Uffizi, Louvre, although others have been proposed.  They may represent different times of day: dawn (London), mid-day (Florence) and dusk (Paris) – the battle lasted eight hours.In the London painting, Niccolò da Tolentino, with his large gold and red patterned hat, is seen leading the Florentine cavalry. He had a reputation for recklessness, and doesn't even wear a helmet, though he sent two messengers (the departure of the two messengers, depicted centre, top) to tell his allied army of Attendolo to hurry to his aid as he is facing a superior force. In the foreground, broken lances and a dead soldier are carefully aligned into orthogonals, so as to create an impression of perspective. Similar to that of a tapestry, the landscape rises up in a picture plane as opposed to receding deeply into space. This illusion of a backdrop and a perspective theme resembling a stage, depicts the war as a theatrical ceremony. The three paintings were designed to be hung high on three different walls of a room, and the perspective designed with that height in mind, which accounts for many apparent anomalies in the perspective when seen in photos or at normal gallery height.Many areas of the paintings were covered with gold and silver leaf. While the gold leaf, such as that found on the decorations of the bridles, has remained bright, the silver leaf, found particularly on the armour of the soldiers, has oxidized to a dull grey or black.  The original impression of the burnished silver would have been dazzling.  All of the paintings, especially that in the Louvre, have suffered from time and early restoration, and many areas have lost their modelling.The panels were a subject in the BBC series The Private Life of a Masterpiece (2005).

Equestrian Statue of Niccolò da Tolentino

Category:Paintings in the National Gallery, London

Category:Paintings in the Louvre by Italian artists

Equestrian Monument of Niccolò da Tolentino


The Battle of San Romano

Prompt: Explain the Subject of this artwork, The Battle of San Romano.

The three paintings are:The Uffizi panel was probably designed to be the central painting of the triptych and is the only one signed by the artist.  The sequence most widely agreed among art historians is: London, Uffizi, Louvre, although others have been proposed.  They may represent different times of day: dawn (London), mid-day (Florence) and dusk (Paris) – the battle lasted eight hours.In the London painting, Niccolò da Tolentino, with his large gold and red patterned hat, is seen leading the Florentine cavalry. He had a reputation for recklessness, and doesn't even wear a helmet, though he sent two messengers (the departure of the two messengers, depicted centre, top) to tell his allied army of Attendolo to hurry to his aid as he is facing a superior force. In the foreground, broken lances and a dead soldier are carefully aligned into orthogonals, so as to create an impression of perspective. Similar to that of a tapestry, the landscape rises up in a picture plane as opposed to receding deeply into space. This illusion of a backdrop and a perspective theme resembling a stage, depicts the war as a theatrical ceremony. The three paintings were designed to be hung high on three different walls of a room, and the perspective designed with that height in mind, which accounts for many apparent anomalies in the perspective when seen in photos or at normal gallery height.Many areas of the paintings were covered with gold and silver leaf. While the gold leaf, such as that found on the decorations of the bridles, has remained bright, the silver leaf, found particularly on the armour of the soldiers, has oxidized to a dull grey or black.  The original impression of the burnished silver would have been dazzling.  All of the paintings, especially that in the Louvre, have suffered from time and early restoration, and many areas have lost their modelling.The panels were a subject in the BBC series The Private Life of a Masterpiece (2005).

Equestrian Statue of Niccolò da Tolentino

Category:Paintings in the National Gallery, London

Category:Paintings in the Louvre by Italian artists

Equestrian Monument of Niccolò da Tolentino


The Battle of San Romano

Prompt: How does The Battle of San Romano explain its Subject?

The three paintings are:The Uffizi panel was probably designed to be the central painting of the triptych and is the only one signed by the artist.  The sequence most widely agreed among art historians is: London, Uffizi, Louvre, although others have been proposed.  They may represent different times of day: dawn (London), mid-day (Florence) and dusk (Paris) – the battle lasted eight hours.In the London painting, Niccolò da Tolentino, with his large gold and red patterned hat, is seen leading the Florentine cavalry. He had a reputation for recklessness, and doesn't even wear a helmet, though he sent two messengers (the departure of the two messengers, depicted centre, top) to tell his allied army of Attendolo to hurry to his aid as he is facing a superior force. In the foreground, broken lances and a dead soldier are carefully aligned into orthogonals, so as to create an impression of perspective. Similar to that of a tapestry, the landscape rises up in a picture plane as opposed to receding deeply into space. This illusion of a backdrop and a perspective theme resembling a stage, depicts the war as a theatrical ceremony. The three paintings were designed to be hung high on three different walls of a room, and the perspective designed with that height in mind, which accounts for many apparent anomalies in the perspective when seen in photos or at normal gallery height.Many areas of the paintings were covered with gold and silver leaf. While the gold leaf, such as that found on the decorations of the bridles, has remained bright, the silver leaf, found particularly on the armour of the soldiers, has oxidized to a dull grey or black.  The original impression of the burnished silver would have been dazzling.  All of the paintings, especially that in the Louvre, have suffered from time and early restoration, and many areas have lost their modelling.The panels were a subject in the BBC series The Private Life of a Masterpiece (2005).

Equestrian Statue of Niccolò da Tolentino

Category:Paintings in the National Gallery, London

Category:Paintings in the Louvre by Italian artists

Equestrian Monument of Niccolò da Tolentino