Lamentation of Christ (van der Weyden)

Prompt: How does Lamentation of Christ (van der Weyden) explain its History?

The work is perhaps the "altarpiece [with] Our Lord's sepulchre [...] and other five figures" which appear in the inventory made in 1492 at the death of  Lorenzo de' Medici, and which decorated his Villa at Careggi since as early as 1482. The panel was thus one of the works commissioned by the Medici to van der Weyden, including the Medici Madonna now at  Städel of Frankfurt, which has been also assigned to the artist's trip to Italy in 1450. Another hypothesis is that the panel was part of a lost triptych painted for  Lionello d'Este of Ferrara, and mentioned in 1449, or that it was the painting described by Giorgio Vasari as Hans Memling's.The panel adopts the same scheme in Fra Angelico's Pietà for the predella of the San Marco Altarpiece (1438–1443), now at the Alte Pinakothek, Munich, confirming that the Flemish artist visited Florence during his pilgrimage in Italy of  1449–1450, as mentioned in De viribus illustribus by Bartolomeo Facio (c. 1456). The work was later part of the collections of cardinal  Carlo de' Medici, being moved to the Uffizi Gallery in 1666.  Filippo Baldinucci described it as a work by Albrecht Dürer. In 1989 it was still assigned to Hans Memling by some scholars, but in 1992 reflex photography showed the underlying drawing, which was clearly executed by van der Weyden.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: In Lamentation of Christ (van der Weyden), how is the History discussed?

The work is perhaps the "altarpiece [with] Our Lord's sepulchre [...] and other five figures" which appear in the inventory made in 1492 at the death of  Lorenzo de' Medici, and which decorated his Villa at Careggi since as early as 1482. The panel was thus one of the works commissioned by the Medici to van der Weyden, including the Medici Madonna now at  Städel of Frankfurt, which has been also assigned to the artist's trip to Italy in 1450. Another hypothesis is that the panel was part of a lost triptych painted for  Lionello d'Este of Ferrara, and mentioned in 1449, or that it was the painting described by Giorgio Vasari as Hans Memling's.The panel adopts the same scheme in Fra Angelico's Pietà for the predella of the San Marco Altarpiece (1438–1443), now at the Alte Pinakothek, Munich, confirming that the Flemish artist visited Florence during his pilgrimage in Italy of  1449–1450, as mentioned in De viribus illustribus by Bartolomeo Facio (c. 1456). The work was later part of the collections of cardinal  Carlo de' Medici, being moved to the Uffizi Gallery in 1666.  Filippo Baldinucci described it as a work by Albrecht Dürer. In 1989 it was still assigned to Hans Memling by some scholars, but in 1992 reflex photography showed the underlying drawing, which was clearly executed by van der Weyden.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: Focus on Lamentation of Christ (van der Weyden) and explain the Description.

The painting has a rectangular shape, and shows Christ being buried with the weeping Mary and John the Evangelist holding his hands. The corpse is supported by Joseph of Arimathea and by Nicodemus dressed in refined clothing of the times and gazing out towards the spectator, once thought to be a self-portrait of the artist which is now known to portray Cosimo the elder. A kneeling Mary Magdalene is depicted in the low foreground.The composition is similar to Angelico's Pietà, but the scene here is more complex and crowded, with less geometrically ordered lines  and more anguished faces. The use of oil paint also allowed van der Weyden to obtain deeper colours and a more brilliant light. The attention to details is also typical of the early Netherlandish painting school.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: Explain the Description of this artwork, Lamentation of Christ (van der Weyden).

The painting has a rectangular shape, and shows Christ being buried with the weeping Mary and John the Evangelist holding his hands. The corpse is supported by Joseph of Arimathea and by Nicodemus dressed in refined clothing of the times and gazing out towards the spectator, once thought to be a self-portrait of the artist which is now known to portray Cosimo the elder. A kneeling Mary Magdalene is depicted in the low foreground.The composition is similar to Angelico's Pietà, but the scene here is more complex and crowded, with less geometrically ordered lines  and more anguished faces. The use of oil paint also allowed van der Weyden to obtain deeper colours and a more brilliant light. The attention to details is also typical of the early Netherlandish painting school.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: How does Lamentation of Christ (van der Weyden) explain its Description?

The painting has a rectangular shape, and shows Christ being buried with the weeping Mary and John the Evangelist holding his hands. The corpse is supported by Joseph of Arimathea and by Nicodemus dressed in refined clothing of the times and gazing out towards the spectator, once thought to be a self-portrait of the artist which is now known to portray Cosimo the elder. A kneeling Mary Magdalene is depicted in the low foreground.The composition is similar to Angelico's Pietà, but the scene here is more complex and crowded, with less geometrically ordered lines  and more anguished faces. The use of oil paint also allowed van der Weyden to obtain deeper colours and a more brilliant light. The attention to details is also typical of the early Netherlandish painting school.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


Lamentation of Christ (van der Weyden)

Prompt: In Lamentation of Christ (van der Weyden), how is the Description discussed?

The painting has a rectangular shape, and shows Christ being buried with the weeping Mary and John the Evangelist holding his hands. The corpse is supported by Joseph of Arimathea and by Nicodemus dressed in refined clothing of the times and gazing out towards the spectator, once thought to be a self-portrait of the artist which is now known to portray Cosimo the elder. A kneeling Mary Magdalene is depicted in the low foreground.The composition is similar to Angelico's Pietà, but the scene here is more complex and crowded, with less geometrically ordered lines  and more anguished faces. The use of oil paint also allowed van der Weyden to obtain deeper colours and a more brilliant light. The attention to details is also typical of the early Netherlandish painting school.

Category:Paintings of the Entombment of Christ

Category:Paintings by Rogier van der Weyden

Category:Paintings of the Lamentation of Christ


The Bewitched Man

Prompt: Focus on The Bewitched Man and explain the abstract.

The Bewitched Man (also known as The Devil's Lamp) is a painting completed c. 1798 by Francisco José de Goya y Lucientes. It is an oil painting on canvas and depicts a scene from a play by Antonio de Zamora called The man bewitched by force (Spanish: El hechizado por fuerza). The painting shows the protagonist, Don Claudio, who believes he is bewitched and that his life depends on keeping a lamp alight. It is held by the National Gallery, in London.This is one of six paintings of witches and devils Goya painted for the Duke and Duchess of Osuna, who had an estate at Alameda de Osuna near Madrid.

Category:Paintings in the National Gallery, London


The Bewitched Man

Prompt: Explain the abstract of this artwork, The Bewitched Man.

The Bewitched Man (also known as The Devil's Lamp) is a painting completed c. 1798 by Francisco José de Goya y Lucientes. It is an oil painting on canvas and depicts a scene from a play by Antonio de Zamora called The man bewitched by force (Spanish: El hechizado por fuerza). The painting shows the protagonist, Don Claudio, who believes he is bewitched and that his life depends on keeping a lamp alight. It is held by the National Gallery, in London.This is one of six paintings of witches and devils Goya painted for the Duke and Duchess of Osuna, who had an estate at Alameda de Osuna near Madrid.

Category:Paintings in the National Gallery, London


The Bewitched Man

Prompt: How does The Bewitched Man explain its abstract?

The Bewitched Man (also known as The Devil's Lamp) is a painting completed c. 1798 by Francisco José de Goya y Lucientes. It is an oil painting on canvas and depicts a scene from a play by Antonio de Zamora called The man bewitched by force (Spanish: El hechizado por fuerza). The painting shows the protagonist, Don Claudio, who believes he is bewitched and that his life depends on keeping a lamp alight. It is held by the National Gallery, in London.This is one of six paintings of witches and devils Goya painted for the Duke and Duchess of Osuna, who had an estate at Alameda de Osuna near Madrid.

Category:Paintings in the National Gallery, London


The Bewitched Man

Prompt: In The Bewitched Man, how is the abstract discussed?

The Bewitched Man (also known as The Devil's Lamp) is a painting completed c. 1798 by Francisco José de Goya y Lucientes. It is an oil painting on canvas and depicts a scene from a play by Antonio de Zamora called The man bewitched by force (Spanish: El hechizado por fuerza). The painting shows the protagonist, Don Claudio, who believes he is bewitched and that his life depends on keeping a lamp alight. It is held by the National Gallery, in London.This is one of six paintings of witches and devils Goya painted for the Duke and Duchess of Osuna, who had an estate at Alameda de Osuna near Madrid.

Category:Paintings in the National Gallery, London


The Red Cape

Prompt: Focus on The Red Cape and explain the abstract.

The Red Cape, also sometimes known as Madame Monet or The Red Kerchief, is an oil-on-canvas snowscape by French impressionist Claude Monet, from c. 1868-1873. The painting depicts Claude Monet's first wife, Camille, dressed in a red cape, passing outside of a window.Monet painted the painting while living in Argenteuil. The solitary setting at his home there allowed him to paint in relative peace, as well as spend time with his family. It is Monet's only known snowscape painting that features Camille Monet. Since 1958, it has been in the collection of the Cleveland Museum of Art in Cleveland, Ohio.

Category:Paintings in the Cleveland Museum of Art


The Red Cape

Prompt: Explain the abstract of this artwork, The Red Cape.

The Red Cape, also sometimes known as Madame Monet or The Red Kerchief, is an oil-on-canvas snowscape by French impressionist Claude Monet, from c. 1868-1873. The painting depicts Claude Monet's first wife, Camille, dressed in a red cape, passing outside of a window.Monet painted the painting while living in Argenteuil. The solitary setting at his home there allowed him to paint in relative peace, as well as spend time with his family. It is Monet's only known snowscape painting that features Camille Monet. Since 1958, it has been in the collection of the Cleveland Museum of Art in Cleveland, Ohio.

Category:Paintings in the Cleveland Museum of Art


The Red Cape

Prompt: How does The Red Cape explain its abstract?

The Red Cape, also sometimes known as Madame Monet or The Red Kerchief, is an oil-on-canvas snowscape by French impressionist Claude Monet, from c. 1868-1873. The painting depicts Claude Monet's first wife, Camille, dressed in a red cape, passing outside of a window.Monet painted the painting while living in Argenteuil. The solitary setting at his home there allowed him to paint in relative peace, as well as spend time with his family. It is Monet's only known snowscape painting that features Camille Monet. Since 1958, it has been in the collection of the Cleveland Museum of Art in Cleveland, Ohio.

Category:Paintings in the Cleveland Museum of Art


The Red Cape

Prompt: In The Red Cape, how is the abstract discussed?

The Red Cape, also sometimes known as Madame Monet or The Red Kerchief, is an oil-on-canvas snowscape by French impressionist Claude Monet, from c. 1868-1873. The painting depicts Claude Monet's first wife, Camille, dressed in a red cape, passing outside of a window.Monet painted the painting while living in Argenteuil. The solitary setting at his home there allowed him to paint in relative peace, as well as spend time with his family. It is Monet's only known snowscape painting that features Camille Monet. Since 1958, it has been in the collection of the Cleveland Museum of Art in Cleveland, Ohio.

Category:Paintings in the Cleveland Museum of Art


Eagles and Prey

Prompt: Focus on Eagles and Prey and explain the abstract.

Eagles and Prey is an outdoor bronze sculpture by Christophe Fratin, located in Central Park in Manhattan, New York. Created in 1850 and installed in Central Park in 1863, it is the earliest known sculpture to be installed in any New York City park.

Category:Sculptures of eagles in the United States

Category:Animal sculptures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:Bronze sculptures in Central Park

Category:Sculptures of birds in New York (state)

Category:1850 establishments in New York (state)


Eagles and Prey

Prompt: Explain the abstract of this artwork, Eagles and Prey.

Eagles and Prey is an outdoor bronze sculpture by Christophe Fratin, located in Central Park in Manhattan, New York. Created in 1850 and installed in Central Park in 1863, it is the earliest known sculpture to be installed in any New York City park.

Category:Sculptures of eagles in the United States

Category:Animal sculptures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:Bronze sculptures in Central Park

Category:Sculptures of birds in New York (state)

Category:1850 establishments in New York (state)


Eagles and Prey

Prompt: How does Eagles and Prey explain its abstract?

Eagles and Prey is an outdoor bronze sculpture by Christophe Fratin, located in Central Park in Manhattan, New York. Created in 1850 and installed in Central Park in 1863, it is the earliest known sculpture to be installed in any New York City park.

Category:Sculptures of eagles in the United States

Category:Animal sculptures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:Bronze sculptures in Central Park

Category:Sculptures of birds in New York (state)

Category:1850 establishments in New York (state)


Eagles and Prey

Prompt: In Eagles and Prey, how is the abstract discussed?

Eagles and Prey is an outdoor bronze sculpture by Christophe Fratin, located in Central Park in Manhattan, New York. Created in 1850 and installed in Central Park in 1863, it is the earliest known sculpture to be installed in any New York City park.

Category:Sculptures of eagles in the United States

Category:Animal sculptures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:Bronze sculptures in Central Park

Category:Sculptures of birds in New York (state)

Category:1850 establishments in New York (state)


Trompe-l'œil (mural)

Prompt: Focus on Trompe-l'œil (mural) and explain the abstract.

Trompe-l'œil is a 112-meter-long color field painting created in 1998 by Maria Bettina Cogliatti. It overlooks the Katastrophenbucht ("disaster bay") in Zug, Switzerland.

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

houses that had sunk into the lake there in 1887

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: Explain the abstract of this artwork, Trompe-l'œil (mural).

Trompe-l'œil is a 112-meter-long color field painting created in 1998 by Maria Bettina Cogliatti. It overlooks the Katastrophenbucht ("disaster bay") in Zug, Switzerland.

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

houses that had sunk into the lake there in 1887

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: How does Trompe-l'œil (mural) explain its abstract?

Trompe-l'œil is a 112-meter-long color field painting created in 1998 by Maria Bettina Cogliatti. It overlooks the Katastrophenbucht ("disaster bay") in Zug, Switzerland.

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

houses that had sunk into the lake there in 1887

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: In Trompe-l'œil (mural), how is the abstract discussed?

Trompe-l'œil is a 112-meter-long color field painting created in 1998 by Maria Bettina Cogliatti. It overlooks the Katastrophenbucht ("disaster bay") in Zug, Switzerland.

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

houses that had sunk into the lake there in 1887

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: Focus on Trompe-l'œil (mural) and explain the Description.

Cogliatti painted Trompe-l'œil in 1998 with acrylic paint on the concrete wall of the Zug Vorstadtbrücke bridge.In this artwork, she juxtaposed three warm and two cold color fields (or vice versa). 21 color tones are set in contrast to one another in such a way that the colors run from warm yellow-orange on the side of the Vorstadtquai to rich purple, green and red, and finally towards the Alpenquai into a cool blue. Thus, they simulate a colored sky, from dusk to dawn. Cogliatti arranged the colored surfaces in order to create illusionistic interruptions, niches and windows in the wall and thus create an imaginary living space, a “colorful city”.Trompe-l'œil complements the color of the colorful Vorstadt houses that are still standing (since the 1887 Vorstadtkatastrophe) and thus brings the sunken row of houses to new life. "The colorful reflections from the wall to the ceiling and to the floor create an aquarium feeling on hot days ..." The sequence of colors is also reminiscent of the course of the day, from dusk to dawn. "The large open areas on the mural [...] form an ideal platform for various messages." "There is a place in Zug that leads directly into the soul of young people. A kind of physical Facebook [...] - the great colorful wall in the disaster bay, between Rössliwiese and Alpenquai."

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

houses that had sunk into the lake there in 1887

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: Explain the Description of this artwork, Trompe-l'œil (mural).

Cogliatti painted Trompe-l'œil in 1998 with acrylic paint on the concrete wall of the Zug Vorstadtbrücke bridge.In this artwork, she juxtaposed three warm and two cold color fields (or vice versa). 21 color tones are set in contrast to one another in such a way that the colors run from warm yellow-orange on the side of the Vorstadtquai to rich purple, green and red, and finally towards the Alpenquai into a cool blue. Thus, they simulate a colored sky, from dusk to dawn. Cogliatti arranged the colored surfaces in order to create illusionistic interruptions, niches and windows in the wall and thus create an imaginary living space, a “colorful city”.Trompe-l'œil complements the color of the colorful Vorstadt houses that are still standing (since the 1887 Vorstadtkatastrophe) and thus brings the sunken row of houses to new life. "The colorful reflections from the wall to the ceiling and to the floor create an aquarium feeling on hot days ..." The sequence of colors is also reminiscent of the course of the day, from dusk to dawn. "The large open areas on the mural [...] form an ideal platform for various messages." "There is a place in Zug that leads directly into the soul of young people. A kind of physical Facebook [...] - the great colorful wall in the disaster bay, between Rössliwiese and Alpenquai."

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

houses that had sunk into the lake there in 1887

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: How does Trompe-l'œil (mural) explain its Description?

Cogliatti painted Trompe-l'œil in 1998 with acrylic paint on the concrete wall of the Zug Vorstadtbrücke bridge.In this artwork, she juxtaposed three warm and two cold color fields (or vice versa). 21 color tones are set in contrast to one another in such a way that the colors run from warm yellow-orange on the side of the Vorstadtquai to rich purple, green and red, and finally towards the Alpenquai into a cool blue. Thus, they simulate a colored sky, from dusk to dawn. Cogliatti arranged the colored surfaces in order to create illusionistic interruptions, niches and windows in the wall and thus create an imaginary living space, a “colorful city”.Trompe-l'œil complements the color of the colorful Vorstadt houses that are still standing (since the 1887 Vorstadtkatastrophe) and thus brings the sunken row of houses to new life. "The colorful reflections from the wall to the ceiling and to the floor create an aquarium feeling on hot days ..." The sequence of colors is also reminiscent of the course of the day, from dusk to dawn. "The large open areas on the mural [...] form an ideal platform for various messages." "There is a place in Zug that leads directly into the soul of young people. A kind of physical Facebook [...] - the great colorful wall in the disaster bay, between Rössliwiese and Alpenquai."

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

houses that had sunk into the lake there in 1887

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: In Trompe-l'œil (mural), how is the Description discussed?

Cogliatti painted Trompe-l'œil in 1998 with acrylic paint on the concrete wall of the Zug Vorstadtbrücke bridge.In this artwork, she juxtaposed three warm and two cold color fields (or vice versa). 21 color tones are set in contrast to one another in such a way that the colors run from warm yellow-orange on the side of the Vorstadtquai to rich purple, green and red, and finally towards the Alpenquai into a cool blue. Thus, they simulate a colored sky, from dusk to dawn. Cogliatti arranged the colored surfaces in order to create illusionistic interruptions, niches and windows in the wall and thus create an imaginary living space, a “colorful city”.Trompe-l'œil complements the color of the colorful Vorstadt houses that are still standing (since the 1887 Vorstadtkatastrophe) and thus brings the sunken row of houses to new life. "The colorful reflections from the wall to the ceiling and to the floor create an aquarium feeling on hot days ..." The sequence of colors is also reminiscent of the course of the day, from dusk to dawn. "The large open areas on the mural [...] form an ideal platform for various messages." "There is a place in Zug that leads directly into the soul of young people. A kind of physical Facebook [...] - the great colorful wall in the disaster bay, between Rössliwiese and Alpenquai."

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

houses that had sunk into the lake there in 1887

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: Focus on Trompe-l'œil (mural) and explain the History.

In the 1970s, Hans Potthof painted the 112-meter concrete wall of the Vorstadtbrücke bridge with the assistance of children; but graffiti destroyed the painting during decades.In 1995, Cogliatti instructed 55 children to paint the same concrete wall on behalf of the Zuger Schul– und Stadtbauamt (″Zug school and municipal building authorities″). The leitmotiv theme for the painting work was "Living space", the painting was mainly in shades of blue – allusions to the houses that had sunk into the lake there in 1887. The wall painting was inaugurated on July 6, 1995, one day after the complete renovation of the Rigiplatz above, which is reminiscent of the same disaster.After the painting had been repeatedly covered in graffiti, the city commissioned Cogliatti to redesign the wall in 1998. With the help of a flat painter and over a period of approximately 140 hours, the artist implemented “her own sculptural and color visions”. One of Cogliatti's artistic goals, among others, was to use painterly means to give the impression of a third dimension. She therefore gave her work the name Trompe-l'œil, which means "eye delusion"; for this, the dominance of the window hatches in the wall had to be broken. Cogliatti completed the work in early August 1998.

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: Explain the History of this artwork, Trompe-l'œil (mural).

In the 1970s, Hans Potthof painted the 112-meter concrete wall of the Vorstadtbrücke bridge with the assistance of children; but graffiti destroyed the painting during decades.In 1995, Cogliatti instructed 55 children to paint the same concrete wall on behalf of the Zuger Schul– und Stadtbauamt (″Zug school and municipal building authorities″). The leitmotiv theme for the painting work was "Living space", the painting was mainly in shades of blue – allusions to the houses that had sunk into the lake there in 1887. The wall painting was inaugurated on July 6, 1995, one day after the complete renovation of the Rigiplatz above, which is reminiscent of the same disaster.After the painting had been repeatedly covered in graffiti, the city commissioned Cogliatti to redesign the wall in 1998. With the help of a flat painter and over a period of approximately 140 hours, the artist implemented “her own sculptural and color visions”. One of Cogliatti's artistic goals, among others, was to use painterly means to give the impression of a third dimension. She therefore gave her work the name Trompe-l'œil, which means "eye delusion"; for this, the dominance of the window hatches in the wall had to be broken. Cogliatti completed the work in early August 1998.

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: How does Trompe-l'œil (mural) explain its History?

In the 1970s, Hans Potthof painted the 112-meter concrete wall of the Vorstadtbrücke bridge with the assistance of children; but graffiti destroyed the painting during decades.In 1995, Cogliatti instructed 55 children to paint the same concrete wall on behalf of the Zuger Schul– und Stadtbauamt (″Zug school and municipal building authorities″). The leitmotiv theme for the painting work was "Living space", the painting was mainly in shades of blue – allusions to the houses that had sunk into the lake there in 1887. The wall painting was inaugurated on July 6, 1995, one day after the complete renovation of the Rigiplatz above, which is reminiscent of the same disaster.After the painting had been repeatedly covered in graffiti, the city commissioned Cogliatti to redesign the wall in 1998. With the help of a flat painter and over a period of approximately 140 hours, the artist implemented “her own sculptural and color visions”. One of Cogliatti's artistic goals, among others, was to use painterly means to give the impression of a third dimension. She therefore gave her work the name Trompe-l'œil, which means "eye delusion"; for this, the dominance of the window hatches in the wall had to be broken. Cogliatti completed the work in early August 1998.

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Trompe-l'œil (mural)

Prompt: In Trompe-l'œil (mural), how is the History discussed?

In the 1970s, Hans Potthof painted the 112-meter concrete wall of the Vorstadtbrücke bridge with the assistance of children; but graffiti destroyed the painting during decades.In 1995, Cogliatti instructed 55 children to paint the same concrete wall on behalf of the Zuger Schul– und Stadtbauamt (″Zug school and municipal building authorities″). The leitmotiv theme for the painting work was "Living space", the painting was mainly in shades of blue – allusions to the houses that had sunk into the lake there in 1887. The wall painting was inaugurated on July 6, 1995, one day after the complete renovation of the Rigiplatz above, which is reminiscent of the same disaster.After the painting had been repeatedly covered in graffiti, the city commissioned Cogliatti to redesign the wall in 1998. With the help of a flat painter and over a period of approximately 140 hours, the artist implemented “her own sculptural and color visions”. One of Cogliatti's artistic goals, among others, was to use painterly means to give the impression of a third dimension. She therefore gave her work the name Trompe-l'œil, which means "eye delusion"; for this, the dominance of the window hatches in the wall had to be broken. Cogliatti completed the work in early August 1998.

Future site of ''Trompe-l'œil'', immediately after the 1887 disaster (lakeshore collapse) that created the namesake bay

''Trompe-l'œil'' and the ''[[Katastrophenbucht


Bust of Benito Juárez

Prompt: Focus on Bust of Benito Juárez and explain the abstract.

A bronze bust of Mexican president Benito Juárez by Julian Martinez is installed in Hermann Park's McGovern Centennial Gardens, in Houston, Texas.The sculpture was acquired by the City of Houston in 1985, having been donated by Pemex on behalf of the Mexican people.

Category:Mexican-American culture in Houston

Statue of Benito Juárez (Washington, D.C.)

Category:Cultural depictions of Benito Juárez

Category:Monuments and memorials in Texas


Bust of Benito Juárez

Prompt: Explain the abstract of this artwork, Bust of Benito Juárez.

A bronze bust of Mexican president Benito Juárez by Julian Martinez is installed in Hermann Park's McGovern Centennial Gardens, in Houston, Texas.The sculpture was acquired by the City of Houston in 1985, having been donated by Pemex on behalf of the Mexican people.

Category:Mexican-American culture in Houston

Statue of Benito Juárez (Washington, D.C.)

Category:Cultural depictions of Benito Juárez

Category:Monuments and memorials in Texas


Bust of Benito Juárez

Prompt: How does Bust of Benito Juárez explain its abstract?

A bronze bust of Mexican president Benito Juárez by Julian Martinez is installed in Hermann Park's McGovern Centennial Gardens, in Houston, Texas.The sculpture was acquired by the City of Houston in 1985, having been donated by Pemex on behalf of the Mexican people.

Category:Mexican-American culture in Houston

Statue of Benito Juárez (Washington, D.C.)

Category:Cultural depictions of Benito Juárez

Category:Monuments and memorials in Texas


Bust of Benito Juárez

Prompt: In Bust of Benito Juárez, how is the abstract discussed?

A bronze bust of Mexican president Benito Juárez by Julian Martinez is installed in Hermann Park's McGovern Centennial Gardens, in Houston, Texas.The sculpture was acquired by the City of Houston in 1985, having been donated by Pemex on behalf of the Mexican people.

Category:Mexican-American culture in Houston

Statue of Benito Juárez (Washington, D.C.)

Category:Cultural depictions of Benito Juárez

Category:Monuments and memorials in Texas


San Luca Altarpiece

Prompt: Focus on San Luca Altarpiece and explain the abstract.

The San Lucas Altarpiece, also known as the San Lucas Polyptych, is a 1453 polyptych panel painting by Northern Italian Renaissance painter Andrea Mantegna. The altarpiece is a polyptych panel painting featuring 12 figures each in their own arch. The six figures in the top row flank the central figure of Jesus Christ. The four beneath flank Saint Luke.

Category:Paintings in the Pinacoteca di Brera

category:Paintings of Benedict of Nursia


San Luca Altarpiece

Prompt: Explain the abstract of this artwork, San Luca Altarpiece.

The San Lucas Altarpiece, also known as the San Lucas Polyptych, is a 1453 polyptych panel painting by Northern Italian Renaissance painter Andrea Mantegna. The altarpiece is a polyptych panel painting featuring 12 figures each in their own arch. The six figures in the top row flank the central figure of Jesus Christ. The four beneath flank Saint Luke.

Category:Paintings in the Pinacoteca di Brera

category:Paintings of Benedict of Nursia


San Luca Altarpiece

Prompt: How does San Luca Altarpiece explain its abstract?

The San Lucas Altarpiece, also known as the San Lucas Polyptych, is a 1453 polyptych panel painting by Northern Italian Renaissance painter Andrea Mantegna. The altarpiece is a polyptych panel painting featuring 12 figures each in their own arch. The six figures in the top row flank the central figure of Jesus Christ. The four beneath flank Saint Luke.

Category:Paintings in the Pinacoteca di Brera

category:Paintings of Benedict of Nursia


San Luca Altarpiece

Prompt: In San Luca Altarpiece, how is the abstract discussed?

The San Lucas Altarpiece, also known as the San Lucas Polyptych, is a 1453 polyptych panel painting by Northern Italian Renaissance painter Andrea Mantegna. The altarpiece is a polyptych panel painting featuring 12 figures each in their own arch. The six figures in the top row flank the central figure of Jesus Christ. The four beneath flank Saint Luke.

Category:Paintings in the Pinacoteca di Brera

category:Paintings of Benedict of Nursia


San Luca Altarpiece

Prompt: Focus on San Luca Altarpiece and explain the History.

On August 10, 1453, Mantegna signed a contract to paint the work for the monastery of Santa Giustina in Padua. In return for 50 ducats, Mantegna agreed to complete the work, providing paints with which to depict the figures and the azzurro Todesco (a blue pigment derived from copper) with which to inlay them. The work was completed within that or the following year. The polyptych is located in Pinacoteca di Brera, Milan.

Category:Paintings in the Pinacoteca di Brera

category:Paintings of Benedict of Nursia


San Luca Altarpiece

Prompt: Explain the History of this artwork, San Luca Altarpiece.

On August 10, 1453, Mantegna signed a contract to paint the work for the monastery of Santa Giustina in Padua. In return for 50 ducats, Mantegna agreed to complete the work, providing paints with which to depict the figures and the azzurro Todesco (a blue pigment derived from copper) with which to inlay them. The work was completed within that or the following year. The polyptych is located in Pinacoteca di Brera, Milan.

Category:Paintings in the Pinacoteca di Brera

category:Paintings of Benedict of Nursia


San Luca Altarpiece

Prompt: How does San Luca Altarpiece explain its History?

On August 10, 1453, Mantegna signed a contract to paint the work for the monastery of Santa Giustina in Padua. In return for 50 ducats, Mantegna agreed to complete the work, providing paints with which to depict the figures and the azzurro Todesco (a blue pigment derived from copper) with which to inlay them. The work was completed within that or the following year. The polyptych is located in Pinacoteca di Brera, Milan.

Category:Paintings in the Pinacoteca di Brera

category:Paintings of Benedict of Nursia


San Luca Altarpiece

Prompt: In San Luca Altarpiece, how is the History discussed?

On August 10, 1453, Mantegna signed a contract to paint the work for the monastery of Santa Giustina in Padua. In return for 50 ducats, Mantegna agreed to complete the work, providing paints with which to depict the figures and the azzurro Todesco (a blue pigment derived from copper) with which to inlay them. The work was completed within that or the following year. The polyptych is located in Pinacoteca di Brera, Milan.

Category:Paintings in the Pinacoteca di Brera

category:Paintings of Benedict of Nursia


La Négresse (Manet)

Prompt: Focus on La Négresse (Manet) and explain the abstract.

La Négresse is an 1862 oil on canvas painting by Édouard Manet, now in the Pinacoteca Giovanni e Marella Agnelli in Turin.The name of the model for the work is unknown; she may be Laure, the black woman holding a bunch of flowers in the same artist's Olympia. The work is still linked with the "black beauties of Baudelaire" in reference to his mistress Jeanne Duval, although Duval was mixed-race rather than black. Baudelaire and Manet became close friends, during which time he produced a portrait of Duval in 1862, entitled Baudelaire's Mistress. The poet was often in the painter's studio.La Négresse is mentioned in Manet's posthumous inventory in 1883 under number 46 and was owned by Éva Gonzalès-Guérard, then Auguste Pellerin, then Alexandre Louis Philippe Berthier, prince of Wagram. In 1913 it belonged to Baron Herzog in Budapest, from whom it was looted by Nazi troops. The work passed through Berlin and Honolulu between 1933 and 1959, before entering its present home. It appeared in volume 1 of the 1975 Rouart-Wilderstein catalogue under the reference number RW 68.

Category:Paintings in the Pinacoteca Giovanni e Marella Agnelli


La Négresse (Manet)

Prompt: Explain the abstract of this artwork, La Négresse (Manet).

La Négresse is an 1862 oil on canvas painting by Édouard Manet, now in the Pinacoteca Giovanni e Marella Agnelli in Turin.The name of the model for the work is unknown; she may be Laure, the black woman holding a bunch of flowers in the same artist's Olympia. The work is still linked with the "black beauties of Baudelaire" in reference to his mistress Jeanne Duval, although Duval was mixed-race rather than black. Baudelaire and Manet became close friends, during which time he produced a portrait of Duval in 1862, entitled Baudelaire's Mistress. The poet was often in the painter's studio.La Négresse is mentioned in Manet's posthumous inventory in 1883 under number 46 and was owned by Éva Gonzalès-Guérard, then Auguste Pellerin, then Alexandre Louis Philippe Berthier, prince of Wagram. In 1913 it belonged to Baron Herzog in Budapest, from whom it was looted by Nazi troops. The work passed through Berlin and Honolulu between 1933 and 1959, before entering its present home. It appeared in volume 1 of the 1975 Rouart-Wilderstein catalogue under the reference number RW 68.

Category:Paintings in the Pinacoteca Giovanni e Marella Agnelli


La Négresse (Manet)

Prompt: How does La Négresse (Manet) explain its abstract?

La Négresse is an 1862 oil on canvas painting by Édouard Manet, now in the Pinacoteca Giovanni e Marella Agnelli in Turin.The name of the model for the work is unknown; she may be Laure, the black woman holding a bunch of flowers in the same artist's Olympia. The work is still linked with the "black beauties of Baudelaire" in reference to his mistress Jeanne Duval, although Duval was mixed-race rather than black. Baudelaire and Manet became close friends, during which time he produced a portrait of Duval in 1862, entitled Baudelaire's Mistress. The poet was often in the painter's studio.La Négresse is mentioned in Manet's posthumous inventory in 1883 under number 46 and was owned by Éva Gonzalès-Guérard, then Auguste Pellerin, then Alexandre Louis Philippe Berthier, prince of Wagram. In 1913 it belonged to Baron Herzog in Budapest, from whom it was looted by Nazi troops. The work passed through Berlin and Honolulu between 1933 and 1959, before entering its present home. It appeared in volume 1 of the 1975 Rouart-Wilderstein catalogue under the reference number RW 68.

Category:Paintings in the Pinacoteca Giovanni e Marella Agnelli


La Négresse (Manet)

Prompt: In La Négresse (Manet), how is the abstract discussed?

La Négresse is an 1862 oil on canvas painting by Édouard Manet, now in the Pinacoteca Giovanni e Marella Agnelli in Turin.The name of the model for the work is unknown; she may be Laure, the black woman holding a bunch of flowers in the same artist's Olympia. The work is still linked with the "black beauties of Baudelaire" in reference to his mistress Jeanne Duval, although Duval was mixed-race rather than black. Baudelaire and Manet became close friends, during which time he produced a portrait of Duval in 1862, entitled Baudelaire's Mistress. The poet was often in the painter's studio.La Négresse is mentioned in Manet's posthumous inventory in 1883 under number 46 and was owned by Éva Gonzalès-Guérard, then Auguste Pellerin, then Alexandre Louis Philippe Berthier, prince of Wagram. In 1913 it belonged to Baron Herzog in Budapest, from whom it was looted by Nazi troops. The work passed through Berlin and Honolulu between 1933 and 1959, before entering its present home. It appeared in volume 1 of the 1975 Rouart-Wilderstein catalogue under the reference number RW 68.

Category:Paintings in the Pinacoteca Giovanni e Marella Agnelli


Titania and Bottom

Prompt: Focus on Titania and Bottom and explain the abstract.

Titania and Bottom is an oil painting by the Anglo-Swiss painter Henry Fuseli. It dates to around 1790 and is in Tate Britain, in London. It was commissioned for the Boydell Shakespeare Gallery and depicts a scene from A Midsummer Night's Dream by William Shakespeare.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: Explain the abstract of this artwork, Titania and Bottom.

Titania and Bottom is an oil painting by the Anglo-Swiss painter Henry Fuseli. It dates to around 1790 and is in Tate Britain, in London. It was commissioned for the Boydell Shakespeare Gallery and depicts a scene from A Midsummer Night's Dream by William Shakespeare.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: How does Titania and Bottom explain its abstract?

Titania and Bottom is an oil painting by the Anglo-Swiss painter Henry Fuseli. It dates to around 1790 and is in Tate Britain, in London. It was commissioned for the Boydell Shakespeare Gallery and depicts a scene from A Midsummer Night's Dream by William Shakespeare.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: In Titania and Bottom, how is the abstract discussed?

Titania and Bottom is an oil painting by the Anglo-Swiss painter Henry Fuseli. It dates to around 1790 and is in Tate Britain, in London. It was commissioned for the Boydell Shakespeare Gallery and depicts a scene from A Midsummer Night's Dream by William Shakespeare.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: Focus on Titania and Bottom and explain the Background.

Henry Fuseli had become familiar with William Shakespeare's plays as a student in Zürich. He used them as the basis for paintings throughout his career. He became famous for his treatment of supernatural matters, which gave a special appeal to A Midsummer Night's Dream, along with plays like The Tempest, Hamlet and Macbeth.Titania and Bottom was commissioned by the publisher John Boydell for his Shakespeare Gallery. Fuseli also made a large pendant for Boydell's gallery, Titania's Awakening, which depicts a later moment from the same scene.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: Explain the Background of this artwork, Titania and Bottom.

Henry Fuseli had become familiar with William Shakespeare's plays as a student in Zürich. He used them as the basis for paintings throughout his career. He became famous for his treatment of supernatural matters, which gave a special appeal to A Midsummer Night's Dream, along with plays like The Tempest, Hamlet and Macbeth.Titania and Bottom was commissioned by the publisher John Boydell for his Shakespeare Gallery. Fuseli also made a large pendant for Boydell's gallery, Titania's Awakening, which depicts a later moment from the same scene.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: How does Titania and Bottom explain its Background?

Henry Fuseli had become familiar with William Shakespeare's plays as a student in Zürich. He used them as the basis for paintings throughout his career. He became famous for his treatment of supernatural matters, which gave a special appeal to A Midsummer Night's Dream, along with plays like The Tempest, Hamlet and Macbeth.Titania and Bottom was commissioned by the publisher John Boydell for his Shakespeare Gallery. Fuseli also made a large pendant for Boydell's gallery, Titania's Awakening, which depicts a later moment from the same scene.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: In Titania and Bottom, how is the Background discussed?

Henry Fuseli had become familiar with William Shakespeare's plays as a student in Zürich. He used them as the basis for paintings throughout his career. He became famous for his treatment of supernatural matters, which gave a special appeal to A Midsummer Night's Dream, along with plays like The Tempest, Hamlet and Macbeth.Titania and Bottom was commissioned by the publisher John Boydell for his Shakespeare Gallery. Fuseli also made a large pendant for Boydell's gallery, Titania's Awakening, which depicts a later moment from the same scene.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: Focus on Titania and Bottom and explain the Subject and composition.

The painting depicts a moment from the first scene of the fourth act of William Shakespeare's play A Midsummer Night's Dream. Titania, Queen of the Fairies, is under the influence of a love potion, given to her by her husband Oberon to punish her for her pride. The potion has made her fall in love with the weaver Nick Bottom, who in turn is under a spell which has transformed his head into that of an ass. Titania stands next to the seated Bottom. Her right hand is raised and holds a wand and her left hand rests on the donkey's head. They are surrounded by a group of beings of different sizes, called by Titania to attend to Bottom. A fairy servant scratches Bottom's head and another stands on his hand, offering assistance. A girl to the right has brought a basket of dried peas. A hooded woman to the right is holding a changeling made of wax, and to the left is a group of children artificially created by witches.Titania's seductive pose is adapted from Leda and the Swan by Leonardo da Vinci. Two fairies plunging into calyces to the right are inspired by one of Sandro Botticelli's illustrations for Dante's Divine Comedy, "Canto XXX" from Paradiso. At the bottom left is a girl with a butterfly head, who follows a type of child portrait developed by Joshua Reynolds, where a child posing with a pet animal exhibits features from that animal. A woman on the right is reminiscent of Jan Steen's sexually suggestive The Oyster Eater, but instead of offering an oyster, the woman holds a tiny old man in a leash, suggesting female sexual domination. Like Titania's Awakening, the painting also borrows figures from works by the Dutch painter Abraham Bloemaert.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: Explain the Subject and composition of this artwork, Titania and Bottom.

The painting depicts a moment from the first scene of the fourth act of William Shakespeare's play A Midsummer Night's Dream. Titania, Queen of the Fairies, is under the influence of a love potion, given to her by her husband Oberon to punish her for her pride. The potion has made her fall in love with the weaver Nick Bottom, who in turn is under a spell which has transformed his head into that of an ass. Titania stands next to the seated Bottom. Her right hand is raised and holds a wand and her left hand rests on the donkey's head. They are surrounded by a group of beings of different sizes, called by Titania to attend to Bottom. A fairy servant scratches Bottom's head and another stands on his hand, offering assistance. A girl to the right has brought a basket of dried peas. A hooded woman to the right is holding a changeling made of wax, and to the left is a group of children artificially created by witches.Titania's seductive pose is adapted from Leda and the Swan by Leonardo da Vinci. Two fairies plunging into calyces to the right are inspired by one of Sandro Botticelli's illustrations for Dante's Divine Comedy, "Canto XXX" from Paradiso. At the bottom left is a girl with a butterfly head, who follows a type of child portrait developed by Joshua Reynolds, where a child posing with a pet animal exhibits features from that animal. A woman on the right is reminiscent of Jan Steen's sexually suggestive The Oyster Eater, but instead of offering an oyster, the woman holds a tiny old man in a leash, suggesting female sexual domination. Like Titania's Awakening, the painting also borrows figures from works by the Dutch painter Abraham Bloemaert.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: How does Titania and Bottom explain its Subject and composition?

The painting depicts a moment from the first scene of the fourth act of William Shakespeare's play A Midsummer Night's Dream. Titania, Queen of the Fairies, is under the influence of a love potion, given to her by her husband Oberon to punish her for her pride. The potion has made her fall in love with the weaver Nick Bottom, who in turn is under a spell which has transformed his head into that of an ass. Titania stands next to the seated Bottom. Her right hand is raised and holds a wand and her left hand rests on the donkey's head. They are surrounded by a group of beings of different sizes, called by Titania to attend to Bottom. A fairy servant scratches Bottom's head and another stands on his hand, offering assistance. A girl to the right has brought a basket of dried peas. A hooded woman to the right is holding a changeling made of wax, and to the left is a group of children artificially created by witches.Titania's seductive pose is adapted from Leda and the Swan by Leonardo da Vinci. Two fairies plunging into calyces to the right are inspired by one of Sandro Botticelli's illustrations for Dante's Divine Comedy, "Canto XXX" from Paradiso. At the bottom left is a girl with a butterfly head, who follows a type of child portrait developed by Joshua Reynolds, where a child posing with a pet animal exhibits features from that animal. A woman on the right is reminiscent of Jan Steen's sexually suggestive The Oyster Eater, but instead of offering an oyster, the woman holds a tiny old man in a leash, suggesting female sexual domination. Like Titania's Awakening, the painting also borrows figures from works by the Dutch painter Abraham Bloemaert.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: In Titania and Bottom, how is the Subject and composition discussed?

The painting depicts a moment from the first scene of the fourth act of William Shakespeare's play A Midsummer Night's Dream. Titania, Queen of the Fairies, is under the influence of a love potion, given to her by her husband Oberon to punish her for her pride. The potion has made her fall in love with the weaver Nick Bottom, who in turn is under a spell which has transformed his head into that of an ass. Titania stands next to the seated Bottom. Her right hand is raised and holds a wand and her left hand rests on the donkey's head. They are surrounded by a group of beings of different sizes, called by Titania to attend to Bottom. A fairy servant scratches Bottom's head and another stands on his hand, offering assistance. A girl to the right has brought a basket of dried peas. A hooded woman to the right is holding a changeling made of wax, and to the left is a group of children artificially created by witches.Titania's seductive pose is adapted from Leda and the Swan by Leonardo da Vinci. Two fairies plunging into calyces to the right are inspired by one of Sandro Botticelli's illustrations for Dante's Divine Comedy, "Canto XXX" from Paradiso. At the bottom left is a girl with a butterfly head, who follows a type of child portrait developed by Joshua Reynolds, where a child posing with a pet animal exhibits features from that animal. A woman on the right is reminiscent of Jan Steen's sexually suggestive The Oyster Eater, but instead of offering an oyster, the woman holds a tiny old man in a leash, suggesting female sexual domination. Like Titania's Awakening, the painting also borrows figures from works by the Dutch painter Abraham Bloemaert.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: Focus on Titania and Bottom and explain the Provenance.

Since 1887, the painting has been in the collection of the Tate galleries. It is exhibited at Tate Britain as part of the display Walk Through British Art.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: Explain the Provenance of this artwork, Titania and Bottom.

Since 1887, the painting has been in the collection of the Tate galleries. It is exhibited at Tate Britain as part of the display Walk Through British Art.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: How does Titania and Bottom explain its Provenance?

Since 1887, the painting has been in the collection of the Tate galleries. It is exhibited at Tate Britain as part of the display Walk Through British Art.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Titania and Bottom

Prompt: In Titania and Bottom, how is the Provenance discussed?

Since 1887, the painting has been in the collection of the Tate galleries. It is exhibited at Tate Britain as part of the display Walk Through British Art.

Category:Paintings in the Tate galleries

Category:Works based on A Midsummer Night's Dream

Titania's pose was inspired by Leonardo da Vinci's ''Leda and the Swan'' (copy attributed to [[Il Sodoma

Category:Paintings based on works by William Shakespeare

illustrations for Dante's ''Divine Comedy''

File:Leda col Signo (Copy Of Leonardo da Vinci) September 2015-1.jpg


Hell Scroll (Nara National Museum)

Prompt: Focus on Hell Scroll (Nara National Museum) and explain the abstract.

Hell Scroll (地獄草紙, jigokuzōji) is a scroll depicting seven out of the sixteen lesser hells presented in Kisekyō ("Sutra of the World Arising"). Six of the paintings are accompanied by text, which all begin with the phrase "There is yet another hell", following a description of what the sinners depicted did to end up in this particular hell.The seven hells depicted are:the Hell of Excrement (ja: 屎糞所, しふんしょ)the Hell of Measures (函量所, かんりょうしょ)the Hell of the Iron Mortar (鉄磑所, てつがいしょ)the Hell of the Flaming Rooster (鶏地獄, とりじごく)the Hell of the Black Sand Cloud (黒雲沙, こくうんしゃ)the Hell of Pus and Blood (膿血所, のうけつしょ)the Hell of Foxes and Wolves (狐狼地獄 狼野干泥梨, ころうじごく ろうやかんないり)It is considered likely that the scroll corresponds to the Paintings of the Six Paths, commissioned by Emperor Goshirakawa in the 12th century. This handscroll was preserved in Daishō-in in Higashiokubo, Tokyo until the Meiji period, when it came into the hands of the Hara family of Kanagawa, later ending up in the possession of the Japanese government.

Category:Paintings in the Nara National Museum

List of National Treasures of Japan (paintings)


Hell Scroll (Nara National Museum)

Prompt: Explain the abstract of this artwork, Hell Scroll (Nara National Museum).

Hell Scroll (地獄草紙, jigokuzōji) is a scroll depicting seven out of the sixteen lesser hells presented in Kisekyō ("Sutra of the World Arising"). Six of the paintings are accompanied by text, which all begin with the phrase "There is yet another hell", following a description of what the sinners depicted did to end up in this particular hell.The seven hells depicted are:the Hell of Excrement (ja: 屎糞所, しふんしょ)the Hell of Measures (函量所, かんりょうしょ)the Hell of the Iron Mortar (鉄磑所, てつがいしょ)the Hell of the Flaming Rooster (鶏地獄, とりじごく)the Hell of the Black Sand Cloud (黒雲沙, こくうんしゃ)the Hell of Pus and Blood (膿血所, のうけつしょ)the Hell of Foxes and Wolves (狐狼地獄 狼野干泥梨, ころうじごく ろうやかんないり)It is considered likely that the scroll corresponds to the Paintings of the Six Paths, commissioned by Emperor Goshirakawa in the 12th century. This handscroll was preserved in Daishō-in in Higashiokubo, Tokyo until the Meiji period, when it came into the hands of the Hara family of Kanagawa, later ending up in the possession of the Japanese government.

Category:Paintings in the Nara National Museum

List of National Treasures of Japan (paintings)


Hell Scroll (Nara National Museum)

Prompt: How does Hell Scroll (Nara National Museum) explain its abstract?

Hell Scroll (地獄草紙, jigokuzōji) is a scroll depicting seven out of the sixteen lesser hells presented in Kisekyō ("Sutra of the World Arising"). Six of the paintings are accompanied by text, which all begin with the phrase "There is yet another hell", following a description of what the sinners depicted did to end up in this particular hell.The seven hells depicted are:the Hell of Excrement (ja: 屎糞所, しふんしょ)the Hell of Measures (函量所, かんりょうしょ)the Hell of the Iron Mortar (鉄磑所, てつがいしょ)the Hell of the Flaming Rooster (鶏地獄, とりじごく)the Hell of the Black Sand Cloud (黒雲沙, こくうんしゃ)the Hell of Pus and Blood (膿血所, のうけつしょ)the Hell of Foxes and Wolves (狐狼地獄 狼野干泥梨, ころうじごく ろうやかんないり)It is considered likely that the scroll corresponds to the Paintings of the Six Paths, commissioned by Emperor Goshirakawa in the 12th century. This handscroll was preserved in Daishō-in in Higashiokubo, Tokyo until the Meiji period, when it came into the hands of the Hara family of Kanagawa, later ending up in the possession of the Japanese government.

Category:Paintings in the Nara National Museum

List of National Treasures of Japan (paintings)


Hell Scroll (Nara National Museum)

Prompt: In Hell Scroll (Nara National Museum), how is the abstract discussed?

Hell Scroll (地獄草紙, jigokuzōji) is a scroll depicting seven out of the sixteen lesser hells presented in Kisekyō ("Sutra of the World Arising"). Six of the paintings are accompanied by text, which all begin with the phrase "There is yet another hell", following a description of what the sinners depicted did to end up in this particular hell.The seven hells depicted are:the Hell of Excrement (ja: 屎糞所, しふんしょ)the Hell of Measures (函量所, かんりょうしょ)the Hell of the Iron Mortar (鉄磑所, てつがいしょ)the Hell of the Flaming Rooster (鶏地獄, とりじごく)the Hell of the Black Sand Cloud (黒雲沙, こくうんしゃ)the Hell of Pus and Blood (膿血所, のうけつしょ)the Hell of Foxes and Wolves (狐狼地獄 狼野干泥梨, ころうじごく ろうやかんないり)It is considered likely that the scroll corresponds to the Paintings of the Six Paths, commissioned by Emperor Goshirakawa in the 12th century. This handscroll was preserved in Daishō-in in Higashiokubo, Tokyo until the Meiji period, when it came into the hands of the Hara family of Kanagawa, later ending up in the possession of the Japanese government.

Category:Paintings in the Nara National Museum

List of National Treasures of Japan (paintings)


Alchemist (Plensa)

Prompt: Focus on Alchemist (Plensa) and explain the abstract.

Alchemist is a stainless steel sculpture by Jaume Plensa, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The work was installed in 2010.

Category:Massachusetts Institute of Technology campus

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Steel sculptures in Massachusetts

Category:2010 establishments in Massachusetts

Category:Stainless steel sculptures in the United States


Alchemist (Plensa)

Prompt: Explain the abstract of this artwork, Alchemist (Plensa).

Alchemist is a stainless steel sculpture by Jaume Plensa, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The work was installed in 2010.

Category:Massachusetts Institute of Technology campus

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Steel sculptures in Massachusetts

Category:2010 establishments in Massachusetts

Category:Stainless steel sculptures in the United States


Alchemist (Plensa)

Prompt: How does Alchemist (Plensa) explain its abstract?

Alchemist is a stainless steel sculpture by Jaume Plensa, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The work was installed in 2010.

Category:Massachusetts Institute of Technology campus

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Steel sculptures in Massachusetts

Category:2010 establishments in Massachusetts

Category:Stainless steel sculptures in the United States


Alchemist (Plensa)

Prompt: In Alchemist (Plensa), how is the abstract discussed?

Alchemist is a stainless steel sculpture by Jaume Plensa, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The work was installed in 2010.

Category:Massachusetts Institute of Technology campus

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Steel sculptures in Massachusetts

Category:2010 establishments in Massachusetts

Category:Stainless steel sculptures in the United States


Mammon (painting)

Prompt: Focus on Mammon (painting) and explain the abstract.

Mammon, originally exhibited as Mammon. Dedicated to his Worshippers, is an 1885 oil painting by English artist George Frederic Watts, currently in Tate Britain. One of a number of paintings by Watts in this period on the theme of the corrupting influence of wealth, Mammon shows a scene from Edmund Spenser's The Faerie Queene in which Mammon, the embodiment of greed, crushes the weak through his indifference to their plight. This reflected Watts's belief that wealth was taking the place of religion in modern society, and that this worship of riches was leading to social deterioration. The painting was one of a group of works Watts donated to the South Kensington Museum (now the Victoria and Albert Museum) in late 1886, and in 1897 it was one of 17 Watts paintings transferred to the newly created Tate Gallery. Although rarely exhibited outside the Tate Gallery, the popularity of reproductions made Mammon one of Watts's better known paintings.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: Explain the abstract of this artwork, Mammon (painting).

Mammon, originally exhibited as Mammon. Dedicated to his Worshippers, is an 1885 oil painting by English artist George Frederic Watts, currently in Tate Britain. One of a number of paintings by Watts in this period on the theme of the corrupting influence of wealth, Mammon shows a scene from Edmund Spenser's The Faerie Queene in which Mammon, the embodiment of greed, crushes the weak through his indifference to their plight. This reflected Watts's belief that wealth was taking the place of religion in modern society, and that this worship of riches was leading to social deterioration. The painting was one of a group of works Watts donated to the South Kensington Museum (now the Victoria and Albert Museum) in late 1886, and in 1897 it was one of 17 Watts paintings transferred to the newly created Tate Gallery. Although rarely exhibited outside the Tate Gallery, the popularity of reproductions made Mammon one of Watts's better known paintings.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: How does Mammon (painting) explain its abstract?

Mammon, originally exhibited as Mammon. Dedicated to his Worshippers, is an 1885 oil painting by English artist George Frederic Watts, currently in Tate Britain. One of a number of paintings by Watts in this period on the theme of the corrupting influence of wealth, Mammon shows a scene from Edmund Spenser's The Faerie Queene in which Mammon, the embodiment of greed, crushes the weak through his indifference to their plight. This reflected Watts's belief that wealth was taking the place of religion in modern society, and that this worship of riches was leading to social deterioration. The painting was one of a group of works Watts donated to the South Kensington Museum (now the Victoria and Albert Museum) in late 1886, and in 1897 it was one of 17 Watts paintings transferred to the newly created Tate Gallery. Although rarely exhibited outside the Tate Gallery, the popularity of reproductions made Mammon one of Watts's better known paintings.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: In Mammon (painting), how is the abstract discussed?

Mammon, originally exhibited as Mammon. Dedicated to his Worshippers, is an 1885 oil painting by English artist George Frederic Watts, currently in Tate Britain. One of a number of paintings by Watts in this period on the theme of the corrupting influence of wealth, Mammon shows a scene from Edmund Spenser's The Faerie Queene in which Mammon, the embodiment of greed, crushes the weak through his indifference to their plight. This reflected Watts's belief that wealth was taking the place of religion in modern society, and that this worship of riches was leading to social deterioration. The painting was one of a group of works Watts donated to the South Kensington Museum (now the Victoria and Albert Museum) in late 1886, and in 1897 it was one of 17 Watts paintings transferred to the newly created Tate Gallery. Although rarely exhibited outside the Tate Gallery, the popularity of reproductions made Mammon one of Watts's better known paintings.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: Focus on Mammon (painting) and explain the Background.

George Frederic Watts was born in 1817, the son of a London musical instrument manufacturer. His two brothers died in 1823, and his mother in 1826, giving Watts an obsession with death throughout his life. Meanwhile, his father's strict evangelical Christianity led to Watts developing a deep knowledge of the Bible but a strong dislike of organised religion. Watts was apprenticed as a sculptor at the age of 10, and at the age of 16 was proficient enough as an artist to be earning a living as a portrait painter and as a cricket illustrator. At the age of 18 he gained admission to the Royal Academy schools, although he disliked their methods and his attendance was intermittent. In 1837 Watts was commissioned by Greek shipping magnate Alexander Constantine Ionides to copy a portrait of his father by renowned artist Samuel Lane; Ionides preferred Watts's version to the original and immediately commissioned two more paintings from him, allowing Watts to devote himself full-time to painting.In 1843 Watts travelled to Italy, where he remained for four years. On his return to London he suffered from depression, and painted a number of notably gloomy works. His skills were widely celebrated, and in 1856 he decided to devote himself to portrait painting. His portraits were extremely highly regarded. In 1867 he was elected a Royal Academician, at the time the highest honour available to an artist, although he rapidly became disillusioned with the culture of the Royal Academy. From 1870 onwards he became widely renowned as a painter of allegorical and mythical subjects; by this time, he was one of the most highly regarded artists in the world. In 1881 he added a glass-roofed gallery to his home at Little Holland House, which was open to the public at weekends, further increasing his fame. In 1884 a selection of 50 of his works were shown at New York's Metropolitan Museum of Art, believed to have been the first such exhibition by any artist.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: Explain the Background of this artwork, Mammon (painting).

George Frederic Watts was born in 1817, the son of a London musical instrument manufacturer. His two brothers died in 1823, and his mother in 1826, giving Watts an obsession with death throughout his life. Meanwhile, his father's strict evangelical Christianity led to Watts developing a deep knowledge of the Bible but a strong dislike of organised religion. Watts was apprenticed as a sculptor at the age of 10, and at the age of 16 was proficient enough as an artist to be earning a living as a portrait painter and as a cricket illustrator. At the age of 18 he gained admission to the Royal Academy schools, although he disliked their methods and his attendance was intermittent. In 1837 Watts was commissioned by Greek shipping magnate Alexander Constantine Ionides to copy a portrait of his father by renowned artist Samuel Lane; Ionides preferred Watts's version to the original and immediately commissioned two more paintings from him, allowing Watts to devote himself full-time to painting.In 1843 Watts travelled to Italy, where he remained for four years. On his return to London he suffered from depression, and painted a number of notably gloomy works. His skills were widely celebrated, and in 1856 he decided to devote himself to portrait painting. His portraits were extremely highly regarded. In 1867 he was elected a Royal Academician, at the time the highest honour available to an artist, although he rapidly became disillusioned with the culture of the Royal Academy. From 1870 onwards he became widely renowned as a painter of allegorical and mythical subjects; by this time, he was one of the most highly regarded artists in the world. In 1881 he added a glass-roofed gallery to his home at Little Holland House, which was open to the public at weekends, further increasing his fame. In 1884 a selection of 50 of his works were shown at New York's Metropolitan Museum of Art, believed to have been the first such exhibition by any artist.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: How does Mammon (painting) explain its Background?

George Frederic Watts was born in 1817, the son of a London musical instrument manufacturer. His two brothers died in 1823, and his mother in 1826, giving Watts an obsession with death throughout his life. Meanwhile, his father's strict evangelical Christianity led to Watts developing a deep knowledge of the Bible but a strong dislike of organised religion. Watts was apprenticed as a sculptor at the age of 10, and at the age of 16 was proficient enough as an artist to be earning a living as a portrait painter and as a cricket illustrator. At the age of 18 he gained admission to the Royal Academy schools, although he disliked their methods and his attendance was intermittent. In 1837 Watts was commissioned by Greek shipping magnate Alexander Constantine Ionides to copy a portrait of his father by renowned artist Samuel Lane; Ionides preferred Watts's version to the original and immediately commissioned two more paintings from him, allowing Watts to devote himself full-time to painting.In 1843 Watts travelled to Italy, where he remained for four years. On his return to London he suffered from depression, and painted a number of notably gloomy works. His skills were widely celebrated, and in 1856 he decided to devote himself to portrait painting. His portraits were extremely highly regarded. In 1867 he was elected a Royal Academician, at the time the highest honour available to an artist, although he rapidly became disillusioned with the culture of the Royal Academy. From 1870 onwards he became widely renowned as a painter of allegorical and mythical subjects; by this time, he was one of the most highly regarded artists in the world. In 1881 he added a glass-roofed gallery to his home at Little Holland House, which was open to the public at weekends, further increasing his fame. In 1884 a selection of 50 of his works were shown at New York's Metropolitan Museum of Art, believed to have been the first such exhibition by any artist.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: In Mammon (painting), how is the Background discussed?

George Frederic Watts was born in 1817, the son of a London musical instrument manufacturer. His two brothers died in 1823, and his mother in 1826, giving Watts an obsession with death throughout his life. Meanwhile, his father's strict evangelical Christianity led to Watts developing a deep knowledge of the Bible but a strong dislike of organised religion. Watts was apprenticed as a sculptor at the age of 10, and at the age of 16 was proficient enough as an artist to be earning a living as a portrait painter and as a cricket illustrator. At the age of 18 he gained admission to the Royal Academy schools, although he disliked their methods and his attendance was intermittent. In 1837 Watts was commissioned by Greek shipping magnate Alexander Constantine Ionides to copy a portrait of his father by renowned artist Samuel Lane; Ionides preferred Watts's version to the original and immediately commissioned two more paintings from him, allowing Watts to devote himself full-time to painting.In 1843 Watts travelled to Italy, where he remained for four years. On his return to London he suffered from depression, and painted a number of notably gloomy works. His skills were widely celebrated, and in 1856 he decided to devote himself to portrait painting. His portraits were extremely highly regarded. In 1867 he was elected a Royal Academician, at the time the highest honour available to an artist, although he rapidly became disillusioned with the culture of the Royal Academy. From 1870 onwards he became widely renowned as a painter of allegorical and mythical subjects; by this time, he was one of the most highly regarded artists in the world. In 1881 he added a glass-roofed gallery to his home at Little Holland House, which was open to the public at weekends, further increasing his fame. In 1884 a selection of 50 of his works were shown at New York's Metropolitan Museum of Art, believed to have been the first such exhibition by any artist.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: Focus on Mammon (painting) and explain the Subject.

Mammon originally meant wealth in Aramaic, but from the early days of the Christian Church the name was occasionally used to represent the personification of greed. This notion of Mammon as an individual, rather than an abstract concept, became commonplace in English culture owing to Edmund Spenser's The Faerie Queene, published in the late 16th century, and later in John Milton's Paradise Lost (1667), both of which treated Mammon as an individual exemplar of greed. As was the case with almost all English artists of the period, Watts was heavily influenced by the works of both Spenser and Milton.Watts based Mammon on a scene from Book II of The Faerie Queene in which the protagonist Guyon encounters Mammon in a cave containing "richesse such exceeding store as eie of man did never see before". Mammon was one of a series Watts painted at around this time on the theme of the corruption brought about by wealth, including The Wife of Plutus (1880s), Sic Transit (1880–1882) and For he had Great Possessions (1894).

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: Explain the Subject of this artwork, Mammon (painting).

Mammon originally meant wealth in Aramaic, but from the early days of the Christian Church the name was occasionally used to represent the personification of greed. This notion of Mammon as an individual, rather than an abstract concept, became commonplace in English culture owing to Edmund Spenser's The Faerie Queene, published in the late 16th century, and later in John Milton's Paradise Lost (1667), both of which treated Mammon as an individual exemplar of greed. As was the case with almost all English artists of the period, Watts was heavily influenced by the works of both Spenser and Milton.Watts based Mammon on a scene from Book II of The Faerie Queene in which the protagonist Guyon encounters Mammon in a cave containing "richesse such exceeding store as eie of man did never see before". Mammon was one of a series Watts painted at around this time on the theme of the corruption brought about by wealth, including The Wife of Plutus (1880s), Sic Transit (1880–1882) and For he had Great Possessions (1894).

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: How does Mammon (painting) explain its Subject?

Mammon originally meant wealth in Aramaic, but from the early days of the Christian Church the name was occasionally used to represent the personification of greed. This notion of Mammon as an individual, rather than an abstract concept, became commonplace in English culture owing to Edmund Spenser's The Faerie Queene, published in the late 16th century, and later in John Milton's Paradise Lost (1667), both of which treated Mammon as an individual exemplar of greed. As was the case with almost all English artists of the period, Watts was heavily influenced by the works of both Spenser and Milton.Watts based Mammon on a scene from Book II of The Faerie Queene in which the protagonist Guyon encounters Mammon in a cave containing "richesse such exceeding store as eie of man did never see before". Mammon was one of a series Watts painted at around this time on the theme of the corruption brought about by wealth, including The Wife of Plutus (1880s), Sic Transit (1880–1882) and For he had Great Possessions (1894).

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: In Mammon (painting), how is the Subject discussed?

Mammon originally meant wealth in Aramaic, but from the early days of the Christian Church the name was occasionally used to represent the personification of greed. This notion of Mammon as an individual, rather than an abstract concept, became commonplace in English culture owing to Edmund Spenser's The Faerie Queene, published in the late 16th century, and later in John Milton's Paradise Lost (1667), both of which treated Mammon as an individual exemplar of greed. As was the case with almost all English artists of the period, Watts was heavily influenced by the works of both Spenser and Milton.Watts based Mammon on a scene from Book II of The Faerie Queene in which the protagonist Guyon encounters Mammon in a cave containing "richesse such exceeding store as eie of man did never see before". Mammon was one of a series Watts painted at around this time on the theme of the corruption brought about by wealth, including The Wife of Plutus (1880s), Sic Transit (1880–1882) and For he had Great Possessions (1894).

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: Focus on Mammon (painting) and explain the Composition.

Watts depicted Mammon as a corrupted version of traditional images of the gods. This reflected his belief that the worship of wealth was taking the place of traditional beliefs in modern society, and that this attitude, which he described as "the hypocritical veiling of the daily sacrifice made to this deity", was leading to social decay. (His widow, Mary Seton Watts, wrote in 1912 that Watts had said that "Mammon sits supreme, while great art, as a child of the nation, cannot find a place; the seat is not wide enough for both".) Mammon wears gold and scarlet robes, and crushes "whatever is weak and gentle and timid and lovely". Watts aimed to show Mammon not as crushing the weak through deliberate cruelty, but through an indifference to the damage he was causing. His headdress resembles donkey's ears, an allusion to Thomas Carlyle's description of "serious, most earnest Mammonism grown Midas-eared" in Past and Present.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: Explain the Composition of this artwork, Mammon (painting).

Watts depicted Mammon as a corrupted version of traditional images of the gods. This reflected his belief that the worship of wealth was taking the place of traditional beliefs in modern society, and that this attitude, which he described as "the hypocritical veiling of the daily sacrifice made to this deity", was leading to social decay. (His widow, Mary Seton Watts, wrote in 1912 that Watts had said that "Mammon sits supreme, while great art, as a child of the nation, cannot find a place; the seat is not wide enough for both".) Mammon wears gold and scarlet robes, and crushes "whatever is weak and gentle and timid and lovely". Watts aimed to show Mammon not as crushing the weak through deliberate cruelty, but through an indifference to the damage he was causing. His headdress resembles donkey's ears, an allusion to Thomas Carlyle's description of "serious, most earnest Mammonism grown Midas-eared" in Past and Present.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: How does Mammon (painting) explain its Composition?

Watts depicted Mammon as a corrupted version of traditional images of the gods. This reflected his belief that the worship of wealth was taking the place of traditional beliefs in modern society, and that this attitude, which he described as "the hypocritical veiling of the daily sacrifice made to this deity", was leading to social decay. (His widow, Mary Seton Watts, wrote in 1912 that Watts had said that "Mammon sits supreme, while great art, as a child of the nation, cannot find a place; the seat is not wide enough for both".) Mammon wears gold and scarlet robes, and crushes "whatever is weak and gentle and timid and lovely". Watts aimed to show Mammon not as crushing the weak through deliberate cruelty, but through an indifference to the damage he was causing. His headdress resembles donkey's ears, an allusion to Thomas Carlyle's description of "serious, most earnest Mammonism grown Midas-eared" in Past and Present.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: In Mammon (painting), how is the Composition discussed?

Watts depicted Mammon as a corrupted version of traditional images of the gods. This reflected his belief that the worship of wealth was taking the place of traditional beliefs in modern society, and that this attitude, which he described as "the hypocritical veiling of the daily sacrifice made to this deity", was leading to social decay. (His widow, Mary Seton Watts, wrote in 1912 that Watts had said that "Mammon sits supreme, while great art, as a child of the nation, cannot find a place; the seat is not wide enough for both".) Mammon wears gold and scarlet robes, and crushes "whatever is weak and gentle and timid and lovely". Watts aimed to show Mammon not as crushing the weak through deliberate cruelty, but through an indifference to the damage he was causing. His headdress resembles donkey's ears, an allusion to Thomas Carlyle's description of "serious, most earnest Mammonism grown Midas-eared" in Past and Present.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: Focus on Mammon (painting) and explain the Reception and legacy.

Mammon was first exhibited in 1885, under the title of Mammon. Dedicated to his Worshippers. The catalogue accompanying this exhibition described this unusual title as "righteously scornful". Aside from an oil sketch now in the Watts Gallery, only one completed version of Mammon was made. This was among a number of paintings donated by Watts to the South Kensington Museum (now the Victoria and Albert Museum) in late 1886. In 1897 it was one of the 17 Watts works transferred to the newly created Tate Gallery (commonly known as the Tate Gallery, now Tate Britain); at the time, Watts was so highly regarded that an entire room of the new museum was dedicated to his works.Although rarely exhibited outside the Tate Gallery, cheap photographic reproductions of Mammon made by Frederick Hollyer circulated widely, making it one of Watts's better-known paintings. In 1887 it was one of the paintings discussed by Scottish theologian P. T. Forsyth in his series of lectures on "Religion in Recent Art". Forsyth considered Mammon a companion to Watts's 1885 Hope, arguing that both depicted false gods and the perils awaiting those who attempted to follow them in the absence of faith. By 1904 the image was well-enough known that the Daily Express reproduced the head of Mammon alongside that of John D. Rockefeller, a person of whom the newspaper greatly disapproved, implicitly inviting readers to draw comparisons.Watts returned to the theme of greed in Progress (1902–1904), one of his final works. This shows the figure of Mammon as one of three figures representing what Watts called "non-progress"; academia, wealth and laziness, oblivious to the emergence of Progress on horseback behind them. The central figure was described by Watts as "money grubbing"; as with Mammon and many of his other works, Watts aimed to show spiritual and material values as inherently contradictory.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries