A Balloon Site, Coventry

Prompt: How does A Balloon Site, Coventry explain its History?

During the Second World War the British government formed the War Artists' Advisory Committee (WAAC) under the chairmanship of Sir Kenneth Clark, the director of the National Gallery. The committee was "to draw up a list of artists qualified to record the war at home and abroad". One of those commissioned on several occasions was the British painter Laura Knight, who had painted for the Canadian government during the First World War. By early 1942 she had painted four pictures for the WAAF; the most recent was In for Repairs, showing members of the Women's Auxiliary Air Force (WAAF) repairing a damaged barrage balloon. The Air Ministry was impressed with the picture and its potential to help with recruiting. The Ministry asked the WAAF if Knight could be commissioned again, and, in October 1941, she received a request from Mr Dickey, the Secretary of the WAAC, to paint members of the Women's Auxiliary Air Force based at RAF Wythall—the regional headquarters of RAF Balloon Command—which was six miles (ten kilometres) from Birmingham. She worked on the piece in July and August 1942, and was paid 100 guineas for the work.A Balloon Site was displayed at the 1943 Royal Academy Summer Exhibition, as was Ruby Loftus Screwing a Breech-ring, a painting Knight had just completed. Both works were warmly received. As at 2024, the painting is held by the Imperial War Museum.

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: In A Balloon Site, Coventry, how is the History discussed?

During the Second World War the British government formed the War Artists' Advisory Committee (WAAC) under the chairmanship of Sir Kenneth Clark, the director of the National Gallery. The committee was "to draw up a list of artists qualified to record the war at home and abroad". One of those commissioned on several occasions was the British painter Laura Knight, who had painted for the Canadian government during the First World War. By early 1942 she had painted four pictures for the WAAF; the most recent was In for Repairs, showing members of the Women's Auxiliary Air Force (WAAF) repairing a damaged barrage balloon. The Air Ministry was impressed with the picture and its potential to help with recruiting. The Ministry asked the WAAF if Knight could be commissioned again, and, in October 1941, she received a request from Mr Dickey, the Secretary of the WAAC, to paint members of the Women's Auxiliary Air Force based at RAF Wythall—the regional headquarters of RAF Balloon Command—which was six miles (ten kilometres) from Birmingham. She worked on the piece in July and August 1942, and was paid 100 guineas for the work.A Balloon Site was displayed at the 1943 Royal Academy Summer Exhibition, as was Ruby Loftus Screwing a Breech-ring, a painting Knight had just completed. Both works were warmly received. As at 2024, the painting is held by the Imperial War Museum.

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: Focus on A Balloon Site, Coventry and explain the Painting.

A Balloon Site  is an oil painting on canvas measuring 102.5 by 127 centimetres (3.36 ft × 4.17 ft). It shows the launch of a barrage ballon on the outskirts of Coventry. In the middle distance are several damaged buildings, and the partial ruins of Coventry shown in the background. In the foreground two groups work on launching the balloon. The group in the foreground—composed of three women and a man—are under the leadership of Jean Brydon, a female sergeant. A second group are shown on the far side of the balloon.According to the art historians Teresa Grimes, Judith Collins and Oriana Baddeley, A Balloon Site and In For Repairs "are about activity, the concentration and absorption in work generated by a group endeavour are central to their composition".

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: Explain the Painting of this artwork, A Balloon Site, Coventry.

A Balloon Site  is an oil painting on canvas measuring 102.5 by 127 centimetres (3.36 ft × 4.17 ft). It shows the launch of a barrage ballon on the outskirts of Coventry. In the middle distance are several damaged buildings, and the partial ruins of Coventry shown in the background. In the foreground two groups work on launching the balloon. The group in the foreground—composed of three women and a man—are under the leadership of Jean Brydon, a female sergeant. A second group are shown on the far side of the balloon.According to the art historians Teresa Grimes, Judith Collins and Oriana Baddeley, A Balloon Site and In For Repairs "are about activity, the concentration and absorption in work generated by a group endeavour are central to their composition".

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: How does A Balloon Site, Coventry explain its Painting?

A Balloon Site  is an oil painting on canvas measuring 102.5 by 127 centimetres (3.36 ft × 4.17 ft). It shows the launch of a barrage ballon on the outskirts of Coventry. In the middle distance are several damaged buildings, and the partial ruins of Coventry shown in the background. In the foreground two groups work on launching the balloon. The group in the foreground—composed of three women and a man—are under the leadership of Jean Brydon, a female sergeant. A second group are shown on the far side of the balloon.According to the art historians Teresa Grimes, Judith Collins and Oriana Baddeley, A Balloon Site and In For Repairs "are about activity, the concentration and absorption in work generated by a group endeavour are central to their composition".

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


A Balloon Site, Coventry

Prompt: In A Balloon Site, Coventry, how is the Painting discussed?

A Balloon Site  is an oil painting on canvas measuring 102.5 by 127 centimetres (3.36 ft × 4.17 ft). It shows the launch of a barrage ballon on the outskirts of Coventry. In the middle distance are several damaged buildings, and the partial ruins of Coventry shown in the background. In the foreground two groups work on launching the balloon. The group in the foreground—composed of three women and a man—are under the leadership of Jean Brydon, a female sergeant. A second group are shown on the far side of the balloon.According to the art historians Teresa Grimes, Judith Collins and Oriana Baddeley, A Balloon Site and In For Repairs "are about activity, the concentration and absorption in work generated by a group endeavour are central to their composition".

File:Royal Air Force Balloon Command, 1939-1945. CH21007.jpg

Category:United Kingdom home front during World War II

Category:Cultural depictions of British people

Members of the [[Women's Auxiliary Air Force

Category:Paintings in the Imperial War Museum

Category:Cultural history of World War II


Fiesole Altarpiece

Prompt: Focus on Fiesole Altarpiece and explain the abstract.

The Fiesole Altarpiece is a painting by the Italian early Renaissance master Fra Angelico, executed around 1424–1425. It is housed in the Convent of San Domenico, Fiesole, central Italy. The background was repainted by Lorenzo di Credi in 1501.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: Explain the abstract of this artwork, Fiesole Altarpiece.

The Fiesole Altarpiece is a painting by the Italian early Renaissance master Fra Angelico, executed around 1424–1425. It is housed in the Convent of San Domenico, Fiesole, central Italy. The background was repainted by Lorenzo di Credi in 1501.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: How does Fiesole Altarpiece explain its abstract?

The Fiesole Altarpiece is a painting by the Italian early Renaissance master Fra Angelico, executed around 1424–1425. It is housed in the Convent of San Domenico, Fiesole, central Italy. The background was repainted by Lorenzo di Credi in 1501.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: In Fiesole Altarpiece, how is the abstract discussed?

The Fiesole Altarpiece is a painting by the Italian early Renaissance master Fra Angelico, executed around 1424–1425. It is housed in the Convent of San Domenico, Fiesole, central Italy. The background was repainted by Lorenzo di Credi in 1501.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: Focus on Fiesole Altarpiece and explain the History.

The altarpiece is among the earliest known works by Fra Angelico. It was originally commissioned for the high altar in the convent's church, but was later moved to a side altar where it is currently visible.In 1501 Lorenzo di Credi repainted the background, which was probably gilded, with a more modern landscape featuring a throne with baldachin, trompe-l'oeil reliefs and two landscapes between pillars. The Gothic cusps were also eliminated in that occasion.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: Explain the History of this artwork, Fiesole Altarpiece.

The altarpiece is among the earliest known works by Fra Angelico. It was originally commissioned for the high altar in the convent's church, but was later moved to a side altar where it is currently visible.In 1501 Lorenzo di Credi repainted the background, which was probably gilded, with a more modern landscape featuring a throne with baldachin, trompe-l'oeil reliefs and two landscapes between pillars. The Gothic cusps were also eliminated in that occasion.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: How does Fiesole Altarpiece explain its History?

The altarpiece is among the earliest known works by Fra Angelico. It was originally commissioned for the high altar in the convent's church, but was later moved to a side altar where it is currently visible.In 1501 Lorenzo di Credi repainted the background, which was probably gilded, with a more modern landscape featuring a throne with baldachin, trompe-l'oeil reliefs and two landscapes between pillars. The Gothic cusps were also eliminated in that occasion.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: In Fiesole Altarpiece, how is the History discussed?

The altarpiece is among the earliest known works by Fra Angelico. It was originally commissioned for the high altar in the convent's church, but was later moved to a side altar where it is currently visible.In 1501 Lorenzo di Credi repainted the background, which was probably gilded, with a more modern landscape featuring a throne with baldachin, trompe-l'oeil reliefs and two landscapes between pillars. The Gothic cusps were also eliminated in that occasion.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: Focus on Fiesole Altarpiece and explain the Description.

The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order (the same owning the convent) and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.The composition resembles that of Masaccio's San Giovenale Triptych (1422). The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral (1404–1405). It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.Elements such as the less evolved perspective and the tile pavements (also found in an anonymous Florentine triptych from 1419 and an altarpiece by Angelico himself at San Gimignano) led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: Explain the Description of this artwork, Fiesole Altarpiece.

The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order (the same owning the convent) and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.The composition resembles that of Masaccio's San Giovenale Triptych (1422). The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral (1404–1405). It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.Elements such as the less evolved perspective and the tile pavements (also found in an anonymous Florentine triptych from 1419 and an altarpiece by Angelico himself at San Gimignano) led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: How does Fiesole Altarpiece explain its Description?

The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order (the same owning the convent) and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.The composition resembles that of Masaccio's San Giovenale Triptych (1422). The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral (1404–1405). It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.Elements such as the less evolved perspective and the tile pavements (also found in an anonymous Florentine triptych from 1419 and an altarpiece by Angelico himself at San Gimignano) led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Fiesole Altarpiece

Prompt: In Fiesole Altarpiece, how is the Description discussed?

The work is a Maestà, a Madonna enthroned, a theme particularly fashionable in Florentine art at the time. The central group with the Madonna and Child is surrounded by eight adoring angels depicted in smaller size. The saints Thomas Aquinas, Barnabas, Dominic and Peter of Verona are at the sides: these were three saints of the Dominican Order (the same owning the convent) and the namesake of Barnaba degli Agli, a Florentine man who had donated 6,000 florins for the convent's restoration and enlargement.The naked Child is shown while grasping two flowers: a white rose, symbol of purity, and a red one, a forecast of his future passion connected with the Eucharist: the panel was in fact painted for the church's high altar, where the celebration of this sacrament occurs.The composition resembles that of Masaccio's San Giovenale Triptych (1422). The scheme is also similar to the cartoon of the Assumption by Lorenzo Ghiberti for the windows in the façade of Florence Cathedral (1404–1405). It is also one of the most ancient polyptychs in which the figures are in the same painted surface, without being divided into different compartments.Elements such as the less evolved perspective and the tile pavements (also found in an anonymous Florentine triptych from 1419 and an altarpiece by Angelico himself at San Gimignano) led to the datation of some three years before his San Pietro Martire Triptych, which is documented from 1428.The work had a predella, now at the National Gallery, London and portraying Adoration of Saints, Prophets and Members of the Dominican Order. The latter also houses a tondo with St. Romulus, perhaps located above the polyptych. The side pillars were decorated by ten small panels with saints and blessed, four of which are known today: two are at the Musée Condé of Chantilly and two in private collections.

File:Beato angelico, predella della pala di fiesole 00.jpg

File:Beato angelico, predella della pala di fiesole 01.jpg

File:Beato angelico, predella della pala di fiesole 02.jpg

File:Beato angelico, predella della pala di fiesole 03.jpg

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child

File:Beato angelico, predella della pala di fiesole 04.jpg


Thor (sculpture)

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

Thor is an outdoor 1977 copper and redwood sculpture by American artist Melvin Schuler, located on the Transit Mall of downtown Portland, Oregon.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Southwest Portland, Oregon

United States Department of Transportation


Thor (sculpture)

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

Thor is an outdoor 1977 copper and redwood sculpture by American artist Melvin Schuler, located on the Transit Mall of downtown Portland, Oregon.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Southwest Portland, Oregon

United States Department of Transportation


Thor (sculpture)

Prompt: How does Thor (sculpture) explain its abstract?

Thor is an outdoor 1977 copper and redwood sculpture by American artist Melvin Schuler, located on the Transit Mall of downtown Portland, Oregon.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Southwest Portland, Oregon

United States Department of Transportation


Thor (sculpture)

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

Thor is an outdoor 1977 copper and redwood sculpture by American artist Melvin Schuler, located on the Transit Mall of downtown Portland, Oregon.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Southwest Portland, Oregon

United States Department of Transportation


Thor (sculpture)

Prompt: Focus on Thor (sculpture) and explain the Description and history.

Thor is an abstract outdoor sculpture depicting Thor, the hammer-wielding god of thunder in Norse mythology. Located at the intersection of Southwest 6th Avenue and Southwest Taylor Street in the Portland Transit Mall, the copper on redwood sculpture was completed in 1977, funded by TriMet and the United States Department of Transportation. It measures 7 feet (2.1 m) x 4 feet (1.2 m) x 4 feet (1.2 m). According to the Regional Arts & Culture Council, the agency which administers Thor, "This piece served as a excellent example of Schuler's work, which is characterized by large cubic and angular sculptures achieved by hammering copper onto carved redwood. This process creates a unique and recognizable finish to his sculptures." The sculpture was previously located at Southwest 5th between Washington and Alder.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Southwest Portland, Oregon


Thor (sculpture)

Prompt: Explain the Description and history of this artwork, Thor (sculpture).

Thor is an abstract outdoor sculpture depicting Thor, the hammer-wielding god of thunder in Norse mythology. Located at the intersection of Southwest 6th Avenue and Southwest Taylor Street in the Portland Transit Mall, the copper on redwood sculpture was completed in 1977, funded by TriMet and the United States Department of Transportation. It measures 7 feet (2.1 m) x 4 feet (1.2 m) x 4 feet (1.2 m). According to the Regional Arts & Culture Council, the agency which administers Thor, "This piece served as a excellent example of Schuler's work, which is characterized by large cubic and angular sculptures achieved by hammering copper onto carved redwood. This process creates a unique and recognizable finish to his sculptures." The sculpture was previously located at Southwest 5th between Washington and Alder.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Southwest Portland, Oregon


Thor (sculpture)

Prompt: How does Thor (sculpture) explain its Description and history?

Thor is an abstract outdoor sculpture depicting Thor, the hammer-wielding god of thunder in Norse mythology. Located at the intersection of Southwest 6th Avenue and Southwest Taylor Street in the Portland Transit Mall, the copper on redwood sculpture was completed in 1977, funded by TriMet and the United States Department of Transportation. It measures 7 feet (2.1 m) x 4 feet (1.2 m) x 4 feet (1.2 m). According to the Regional Arts & Culture Council, the agency which administers Thor, "This piece served as a excellent example of Schuler's work, which is characterized by large cubic and angular sculptures achieved by hammering copper onto carved redwood. This process creates a unique and recognizable finish to his sculptures." The sculpture was previously located at Southwest 5th between Washington and Alder.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Southwest Portland, Oregon


Thor (sculpture)

Prompt: In Thor (sculpture), how is the Description and history discussed?

Thor is an abstract outdoor sculpture depicting Thor, the hammer-wielding god of thunder in Norse mythology. Located at the intersection of Southwest 6th Avenue and Southwest Taylor Street in the Portland Transit Mall, the copper on redwood sculpture was completed in 1977, funded by TriMet and the United States Department of Transportation. It measures 7 feet (2.1 m) x 4 feet (1.2 m) x 4 feet (1.2 m). According to the Regional Arts & Culture Council, the agency which administers Thor, "This piece served as a excellent example of Schuler's work, which is characterized by large cubic and angular sculptures achieved by hammering copper onto carved redwood. This process creates a unique and recognizable finish to his sculptures." The sculpture was previously located at Southwest 5th between Washington and Alder.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Southwest Portland, Oregon


Odyssey III

Prompt: Focus on Odyssey III and explain the abstract.

Odyssey III is an abstract 1973 painted aluminum sculpture by Tony Rosenthal, installed outside the San Diego Museum of Art in San Diego's Balboa Park, in the U.S. state of California.The Rosenthal sculpture was purchased by the San Diego Museum of Art in 1974 with matching funds from the National Endowment for the Arts. Since 2016, it has been included in "Art of the Open Air", an exhibition open to the public without admission charge of public art owned by the San Diego Museum of Art.The San Diego Union-Tribune described the work as a "riotous orangey-red-painted assembly of aluminum discs".

Category:Abstract sculptures in California

Category:Aluminum sculptures in California

Category:Sculptures in the San Diego Museum of Art

Category:Outdoor sculptures in San Diego


Odyssey III

Prompt: Explain the abstract of this artwork, Odyssey III.

Odyssey III is an abstract 1973 painted aluminum sculpture by Tony Rosenthal, installed outside the San Diego Museum of Art in San Diego's Balboa Park, in the U.S. state of California.The Rosenthal sculpture was purchased by the San Diego Museum of Art in 1974 with matching funds from the National Endowment for the Arts. Since 2016, it has been included in "Art of the Open Air", an exhibition open to the public without admission charge of public art owned by the San Diego Museum of Art.The San Diego Union-Tribune described the work as a "riotous orangey-red-painted assembly of aluminum discs".

Category:Abstract sculptures in California

Category:Aluminum sculptures in California

Category:Sculptures in the San Diego Museum of Art

Category:Outdoor sculptures in San Diego


Odyssey III

Prompt: How does Odyssey III explain its abstract?

Odyssey III is an abstract 1973 painted aluminum sculpture by Tony Rosenthal, installed outside the San Diego Museum of Art in San Diego's Balboa Park, in the U.S. state of California.The Rosenthal sculpture was purchased by the San Diego Museum of Art in 1974 with matching funds from the National Endowment for the Arts. Since 2016, it has been included in "Art of the Open Air", an exhibition open to the public without admission charge of public art owned by the San Diego Museum of Art.The San Diego Union-Tribune described the work as a "riotous orangey-red-painted assembly of aluminum discs".

Category:Abstract sculptures in California

Category:Aluminum sculptures in California

Category:Sculptures in the San Diego Museum of Art

Category:Outdoor sculptures in San Diego


Odyssey III

Prompt: In Odyssey III, how is the abstract discussed?

Odyssey III is an abstract 1973 painted aluminum sculpture by Tony Rosenthal, installed outside the San Diego Museum of Art in San Diego's Balboa Park, in the U.S. state of California.The Rosenthal sculpture was purchased by the San Diego Museum of Art in 1974 with matching funds from the National Endowment for the Arts. Since 2016, it has been included in "Art of the Open Air", an exhibition open to the public without admission charge of public art owned by the San Diego Museum of Art.The San Diego Union-Tribune described the work as a "riotous orangey-red-painted assembly of aluminum discs".

Category:Abstract sculptures in California

Category:Aluminum sculptures in California

Category:Sculptures in the San Diego Museum of Art

Category:Outdoor sculptures in San Diego


St. Jerome the Priest (Meštrović)

Prompt: Focus on St. Jerome the Priest (Meštrović) and explain the abstract.

St. Jerome the Priest is a bronze statue, by Ivan Meštrović, located at 2343 Massachusetts Avenue, Northwest, Washington, D.C.Ivan Meštrović donated this work to the Croatian Franciscan Fathers, who commissioned it as Saint Jerome. Jerome was born on the territory of modern Croatia. This Meštrović statue was originally located at the Franciscan Fathers' Abbey on 1359 Monroe Street, N.E., Washington, D.C., and was later moved to the front of the Croatian Embassy on Embassy Row. The inscription reads:(On front of base:)

Category:Bronze sculptures in Washington, D.C.

File:2018-12-15 St Jerome statue, Croatian Embassy 10-05-01 013.jpg

Category:1954 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

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

Category:Monuments and memorials in Washington, D.C.


St. Jerome the Priest (Meštrović)

Prompt: Explain the abstract of this artwork, St. Jerome the Priest (Meštrović).

St. Jerome the Priest is a bronze statue, by Ivan Meštrović, located at 2343 Massachusetts Avenue, Northwest, Washington, D.C.Ivan Meštrović donated this work to the Croatian Franciscan Fathers, who commissioned it as Saint Jerome. Jerome was born on the territory of modern Croatia. This Meštrović statue was originally located at the Franciscan Fathers' Abbey on 1359 Monroe Street, N.E., Washington, D.C., and was later moved to the front of the Croatian Embassy on Embassy Row. The inscription reads:(On front of base:)

Category:Bronze sculptures in Washington, D.C.

File:2018-12-15 St Jerome statue, Croatian Embassy 10-05-01 013.jpg

Category:1954 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

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

Category:Monuments and memorials in Washington, D.C.


St. Jerome the Priest (Meštrović)

Prompt: How does St. Jerome the Priest (Meštrović) explain its abstract?

St. Jerome the Priest is a bronze statue, by Ivan Meštrović, located at 2343 Massachusetts Avenue, Northwest, Washington, D.C.Ivan Meštrović donated this work to the Croatian Franciscan Fathers, who commissioned it as Saint Jerome. Jerome was born on the territory of modern Croatia. This Meštrović statue was originally located at the Franciscan Fathers' Abbey on 1359 Monroe Street, N.E., Washington, D.C., and was later moved to the front of the Croatian Embassy on Embassy Row. The inscription reads:(On front of base:)

Category:Bronze sculptures in Washington, D.C.

File:2018-12-15 St Jerome statue, Croatian Embassy 10-05-01 013.jpg

Category:1954 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

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

Category:Monuments and memorials in Washington, D.C.


St. Jerome the Priest (Meštrović)

Prompt: In St. Jerome the Priest (Meštrović), how is the abstract discussed?

St. Jerome the Priest is a bronze statue, by Ivan Meštrović, located at 2343 Massachusetts Avenue, Northwest, Washington, D.C.Ivan Meštrović donated this work to the Croatian Franciscan Fathers, who commissioned it as Saint Jerome. Jerome was born on the territory of modern Croatia. This Meštrović statue was originally located at the Franciscan Fathers' Abbey on 1359 Monroe Street, N.E., Washington, D.C., and was later moved to the front of the Croatian Embassy on Embassy Row. The inscription reads:(On front of base:)

Category:Bronze sculptures in Washington, D.C.

File:2018-12-15 St Jerome statue, Croatian Embassy 10-05-01 013.jpg

Category:1954 establishments in Washington, D.C.

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

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

Category:Monuments and memorials in Washington, D.C.


Snakes (M. C. Escher)

Prompt: Focus on Snakes (M. C. Escher) and explain the abstract.

Snakes is a woodcut print by the Dutch artist M. C. Escher. The work was first printed in July 1969, and was Escher's last print before his death.Snakes depicts a disc made up of interlocking circles that grow progressively smaller towards the center and towards the edge. There are three snakes laced through the edge of the disc. The image is printed in three colours: green, brown and black. The use of snakes and the color palette of this composition recalls an earlier woodcut by the artist, Möbius Strip I (1960).The print has rotational symmetry of order 3, comprising a single wedge-shaped image repeated three times in a circle. This means that it was printed from three blocks that were rotated on a pin to make three impressions each. Close inspection reveals the central mark left by the pin. In several earlier works Escher explored the limits of infinitesimal size and infinite number, for example the Circle Limit series, by actually carrying through the rendering of smaller and smaller figures to the smallest possible sizes. By contrast, in Snakes, the infinite diminution of size – and infinite increase in number – is only suggested in the finished work. Nevertheless, the print shows very clearly how this rendering would have been carried out to the limits of human visibility.

Circle Limit III
woodcut
Category:Snakes in art
Category:1969 paintings
3
rotational symmetry
Category:Works by M. C. Escher
M. C. Escher
Category:Woodcuts
Netherlands
3 (number)
Dutch
Circle Limit


Snakes (M. C. Escher)

Prompt: Explain the abstract of this artwork, Snakes (M. C. Escher).

Snakes is a woodcut print by the Dutch artist M. C. Escher. The work was first printed in July 1969, and was Escher's last print before his death.Snakes depicts a disc made up of interlocking circles that grow progressively smaller towards the center and towards the edge. There are three snakes laced through the edge of the disc. The image is printed in three colours: green, brown and black. The use of snakes and the color palette of this composition recalls an earlier woodcut by the artist, Möbius Strip I (1960).The print has rotational symmetry of order 3, comprising a single wedge-shaped image repeated three times in a circle. This means that it was printed from three blocks that were rotated on a pin to make three impressions each. Close inspection reveals the central mark left by the pin. In several earlier works Escher explored the limits of infinitesimal size and infinite number, for example the Circle Limit series, by actually carrying through the rendering of smaller and smaller figures to the smallest possible sizes. By contrast, in Snakes, the infinite diminution of size – and infinite increase in number – is only suggested in the finished work. Nevertheless, the print shows very clearly how this rendering would have been carried out to the limits of human visibility.

Circle Limit III
woodcut
Category:Snakes in art
Category:1969 paintings
3
rotational symmetry
Category:Works by M. C. Escher
M. C. Escher
Category:Woodcuts
Netherlands
3 (number)
Dutch
Circle Limit


Snakes (M. C. Escher)

Prompt: How does Snakes (M. C. Escher) explain its abstract?

Snakes is a woodcut print by the Dutch artist M. C. Escher. The work was first printed in July 1969, and was Escher's last print before his death.Snakes depicts a disc made up of interlocking circles that grow progressively smaller towards the center and towards the edge. There are three snakes laced through the edge of the disc. The image is printed in three colours: green, brown and black. The use of snakes and the color palette of this composition recalls an earlier woodcut by the artist, Möbius Strip I (1960).The print has rotational symmetry of order 3, comprising a single wedge-shaped image repeated three times in a circle. This means that it was printed from three blocks that were rotated on a pin to make three impressions each. Close inspection reveals the central mark left by the pin. In several earlier works Escher explored the limits of infinitesimal size and infinite number, for example the Circle Limit series, by actually carrying through the rendering of smaller and smaller figures to the smallest possible sizes. By contrast, in Snakes, the infinite diminution of size – and infinite increase in number – is only suggested in the finished work. Nevertheless, the print shows very clearly how this rendering would have been carried out to the limits of human visibility.

Circle Limit III
woodcut
Category:Snakes in art
Category:1969 paintings
3
rotational symmetry
Category:Works by M. C. Escher
M. C. Escher
Category:Woodcuts
Netherlands
3 (number)
Dutch
Circle Limit


Snakes (M. C. Escher)

Prompt: In Snakes (M. C. Escher), how is the abstract discussed?

Snakes is a woodcut print by the Dutch artist M. C. Escher. The work was first printed in July 1969, and was Escher's last print before his death.Snakes depicts a disc made up of interlocking circles that grow progressively smaller towards the center and towards the edge. There are three snakes laced through the edge of the disc. The image is printed in three colours: green, brown and black. The use of snakes and the color palette of this composition recalls an earlier woodcut by the artist, Möbius Strip I (1960).The print has rotational symmetry of order 3, comprising a single wedge-shaped image repeated three times in a circle. This means that it was printed from three blocks that were rotated on a pin to make three impressions each. Close inspection reveals the central mark left by the pin. In several earlier works Escher explored the limits of infinitesimal size and infinite number, for example the Circle Limit series, by actually carrying through the rendering of smaller and smaller figures to the smallest possible sizes. By contrast, in Snakes, the infinite diminution of size – and infinite increase in number – is only suggested in the finished work. Nevertheless, the print shows very clearly how this rendering would have been carried out to the limits of human visibility.

Circle Limit III
woodcut
Category:Snakes in art
Category:1969 paintings
3
rotational symmetry
Category:Works by M. C. Escher
M. C. Escher
Category:Woodcuts
Netherlands
3 (number)
Dutch
Circle Limit


Avni Arbaş

Prompt: Focus on Avni Arbaş and explain the abstract.

Avni Arbaş (1919 – October 16, 2003) was a Turkish painter of Circassian descent.Arbaş was born in Istanbul, in the Constantinople Vilayet of the Ottoman Empire. He is best known for his paintings of scenes from daily life in Turkey, the Turkish War of Independence, the Bosphorus, fishermen, horses, and nature. He also made many portraits.He lived for many years in Paris and died of cancer in İzmir, Turkey in 2003. His daughter Zerrin Arbaş was notable as a beauty queen and actress and his granddaughter Derya Arbaş was also an actress.

Category:Turkish people of Abkhazian descent

Category:Turkish people of Circassian descent

Category:People from Constantinople vilayet

Category:Burials at Aşiyan Asri Cemetery


Avni Arbaş

Prompt: Explain the abstract of this artwork, Avni Arbaş.

Avni Arbaş (1919 – October 16, 2003) was a Turkish painter of Circassian descent.Arbaş was born in Istanbul, in the Constantinople Vilayet of the Ottoman Empire. He is best known for his paintings of scenes from daily life in Turkey, the Turkish War of Independence, the Bosphorus, fishermen, horses, and nature. He also made many portraits.He lived for many years in Paris and died of cancer in İzmir, Turkey in 2003. His daughter Zerrin Arbaş was notable as a beauty queen and actress and his granddaughter Derya Arbaş was also an actress.

Category:Turkish people of Abkhazian descent

Category:Turkish people of Circassian descent

Category:People from Constantinople vilayet

Category:Burials at Aşiyan Asri Cemetery


Avni Arbaş

Prompt: How does Avni Arbaş explain its abstract?

Avni Arbaş (1919 – October 16, 2003) was a Turkish painter of Circassian descent.Arbaş was born in Istanbul, in the Constantinople Vilayet of the Ottoman Empire. He is best known for his paintings of scenes from daily life in Turkey, the Turkish War of Independence, the Bosphorus, fishermen, horses, and nature. He also made many portraits.He lived for many years in Paris and died of cancer in İzmir, Turkey in 2003. His daughter Zerrin Arbaş was notable as a beauty queen and actress and his granddaughter Derya Arbaş was also an actress.

Category:Turkish people of Abkhazian descent

Category:Turkish people of Circassian descent

Category:People from Constantinople vilayet

Category:Burials at Aşiyan Asri Cemetery


Avni Arbaş

Prompt: In Avni Arbaş, how is the abstract discussed?

Avni Arbaş (1919 – October 16, 2003) was a Turkish painter of Circassian descent.Arbaş was born in Istanbul, in the Constantinople Vilayet of the Ottoman Empire. He is best known for his paintings of scenes from daily life in Turkey, the Turkish War of Independence, the Bosphorus, fishermen, horses, and nature. He also made many portraits.He lived for many years in Paris and died of cancer in İzmir, Turkey in 2003. His daughter Zerrin Arbaş was notable as a beauty queen and actress and his granddaughter Derya Arbaş was also an actress.

Category:Turkish people of Abkhazian descent

Category:Turkish people of Circassian descent

Category:People from Constantinople vilayet

Category:Burials at Aşiyan Asri Cemetery


Hercules Killing the Stymphalian Birds

Prompt: Focus on Hercules Killing the Stymphalian Birds and explain the abstract.

Hercules Killing the Stymphalian Birds is a 1500 tempera on canvas painting by Albrecht Dürer, now kept in the Germanisches Nationalmuseum in Nuremberg.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: Explain the abstract of this artwork, Hercules Killing the Stymphalian Birds.

Hercules Killing the Stymphalian Birds is a 1500 tempera on canvas painting by Albrecht Dürer, now kept in the Germanisches Nationalmuseum in Nuremberg.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: How does Hercules Killing the Stymphalian Birds explain its abstract?

Hercules Killing the Stymphalian Birds is a 1500 tempera on canvas painting by Albrecht Dürer, now kept in the Germanisches Nationalmuseum in Nuremberg.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: In Hercules Killing the Stymphalian Birds, how is the abstract discussed?

Hercules Killing the Stymphalian Birds is a 1500 tempera on canvas painting by Albrecht Dürer, now kept in the Germanisches Nationalmuseum in Nuremberg.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: Focus on Hercules Killing the Stymphalian Birds and explain the History.

Dürer's only painting of a mythological subject, Hercules Killing the Stymphalian Birds was probably commissioned for Frederick the Wise for a room in the Schloss Wittenberg, which contains other paintings of the Labours of Hercules.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: Explain the History of this artwork, Hercules Killing the Stymphalian Birds.

Dürer's only painting of a mythological subject, Hercules Killing the Stymphalian Birds was probably commissioned for Frederick the Wise for a room in the Schloss Wittenberg, which contains other paintings of the Labours of Hercules.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: How does Hercules Killing the Stymphalian Birds explain its History?

Dürer's only painting of a mythological subject, Hercules Killing the Stymphalian Birds was probably commissioned for Frederick the Wise for a room in the Schloss Wittenberg, which contains other paintings of the Labours of Hercules.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: In Hercules Killing the Stymphalian Birds, how is the History discussed?

Dürer's only painting of a mythological subject, Hercules Killing the Stymphalian Birds was probably commissioned for Frederick the Wise for a room in the Schloss Wittenberg, which contains other paintings of the Labours of Hercules.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: Focus on Hercules Killing the Stymphalian Birds and explain the Description and style.

Hercules, armed with bow and arrow, is ready to shoot at two winged monsters that appear to his right. He occupies the center of the scene. His composition is probably derived from Italian prints, like Hercules and Deianira by Antonio del Pollaiuolo. Even the landscape in the background follows Italian examples, with its dark palette and brilliant reds representing the deadly swamps of Lake Stymphalia.The monstrous birds, harpies, probably come from Dante's description of harpies as bizarre hybrid creatures.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: Explain the Description and style of this artwork, Hercules Killing the Stymphalian Birds.

Hercules, armed with bow and arrow, is ready to shoot at two winged monsters that appear to his right. He occupies the center of the scene. His composition is probably derived from Italian prints, like Hercules and Deianira by Antonio del Pollaiuolo. Even the landscape in the background follows Italian examples, with its dark palette and brilliant reds representing the deadly swamps of Lake Stymphalia.The monstrous birds, harpies, probably come from Dante's description of harpies as bizarre hybrid creatures.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: How does Hercules Killing the Stymphalian Birds explain its Description and style?

Hercules, armed with bow and arrow, is ready to shoot at two winged monsters that appear to his right. He occupies the center of the scene. His composition is probably derived from Italian prints, like Hercules and Deianira by Antonio del Pollaiuolo. Even the landscape in the background follows Italian examples, with its dark palette and brilliant reds representing the deadly swamps of Lake Stymphalia.The monstrous birds, harpies, probably come from Dante's description of harpies as bizarre hybrid creatures.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Hercules Killing the Stymphalian Birds

Prompt: In Hercules Killing the Stymphalian Birds, how is the Description and style discussed?

Hercules, armed with bow and arrow, is ready to shoot at two winged monsters that appear to his right. He occupies the center of the scene. His composition is probably derived from Italian prints, like Hercules and Deianira by Antonio del Pollaiuolo. Even the landscape in the background follows Italian examples, with its dark palette and brilliant reds representing the deadly swamps of Lake Stymphalia.The monstrous birds, harpies, probably come from Dante's description of harpies as bizarre hybrid creatures.

List of paintings by Albrecht Dürer
Frederick the Wise
Antonio del Pollaiuolo
Hercules and Deianira
Hercules
Germanisches Nationalmuseum
Category:Paintings of Heracles
Dante Alighieri
Schloss Wittenberg
Frederick III, Elector of Saxony
Stymphalian birds
Category:Paintings by Albrecht Dürer
Dante's
Nuremberg
Labours of Hercules
Lake Stymphalia
harpies
All Saints' Church, Wittenberg
Category:Hunting in art
Category:1500 paintings
Albrecht Dürer
Deianira


Salome (Titian, Madrid)

Prompt: Focus on Salome (Titian, Madrid) and explain the abstract.

Salome, also known as Salome with the Head of John the Baptist (Spanish: Salomè con la testa di Giovanni Battista), is an oil painting by the Venetian painter Titian, made in about 1550, and currently in the collection of the Museo del Prado in Madrid. It is not to be confused with other compositions of Salome and Judith by Titian.

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: Explain the abstract of this artwork, Salome (Titian, Madrid).

Salome, also known as Salome with the Head of John the Baptist (Spanish: Salomè con la testa di Giovanni Battista), is an oil painting by the Venetian painter Titian, made in about 1550, and currently in the collection of the Museo del Prado in Madrid. It is not to be confused with other compositions of Salome and Judith by Titian.

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: How does Salome (Titian, Madrid) explain its abstract?

Salome, also known as Salome with the Head of John the Baptist (Spanish: Salomè con la testa di Giovanni Battista), is an oil painting by the Venetian painter Titian, made in about 1550, and currently in the collection of the Museo del Prado in Madrid. It is not to be confused with other compositions of Salome and Judith by Titian.

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: In Salome (Titian, Madrid), how is the abstract discussed?

Salome, also known as Salome with the Head of John the Baptist (Spanish: Salomè con la testa di Giovanni Battista), is an oil painting by the Venetian painter Titian, made in about 1550, and currently in the collection of the Museo del Prado in Madrid. It is not to be confused with other compositions of Salome and Judith by Titian.

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: Focus on Salome (Titian, Madrid) and explain the Subject.

Salome, in Jewish history, was the name borne by three women of the Herod dynasty. Titian depicts the daughter of Herodias by her first husband Herod Philip. She was the wife successively of Philip the Tetrarch and Aristobulus, son of Herod of Chalcis. This Salome is the only one of the three who is mentioned in the New Testament, and only in connection with the execution of John the Baptist. Herod Antipas, pleased by her dancing, offered her a reward "unto the half of my kingdom"; instructed by Herodias, she asked for John the Baptist's "head in a charger".

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: Explain the Subject of this artwork, Salome (Titian, Madrid).

Salome, in Jewish history, was the name borne by three women of the Herod dynasty. Titian depicts the daughter of Herodias by her first husband Herod Philip. She was the wife successively of Philip the Tetrarch and Aristobulus, son of Herod of Chalcis. This Salome is the only one of the three who is mentioned in the New Testament, and only in connection with the execution of John the Baptist. Herod Antipas, pleased by her dancing, offered her a reward "unto the half of my kingdom"; instructed by Herodias, she asked for John the Baptist's "head in a charger".

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: How does Salome (Titian, Madrid) explain its Subject?

Salome, in Jewish history, was the name borne by three women of the Herod dynasty. Titian depicts the daughter of Herodias by her first husband Herod Philip. She was the wife successively of Philip the Tetrarch and Aristobulus, son of Herod of Chalcis. This Salome is the only one of the three who is mentioned in the New Testament, and only in connection with the execution of John the Baptist. Herod Antipas, pleased by her dancing, offered her a reward "unto the half of my kingdom"; instructed by Herodias, she asked for John the Baptist's "head in a charger".

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: In Salome (Titian, Madrid), how is the Subject discussed?

Salome, in Jewish history, was the name borne by three women of the Herod dynasty. Titian depicts the daughter of Herodias by her first husband Herod Philip. She was the wife successively of Philip the Tetrarch and Aristobulus, son of Herod of Chalcis. This Salome is the only one of the three who is mentioned in the New Testament, and only in connection with the execution of John the Baptist. Herod Antipas, pleased by her dancing, offered her a reward "unto the half of my kingdom"; instructed by Herodias, she asked for John the Baptist's "head in a charger".

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: Focus on Salome (Titian, Madrid) and explain the History.

The picture was painted about 1550. It was possibly once in the collection of Charles I of England, and later entered the collection of Charles II of Spain. Crowe and Cavalcaselle called it "evidently [the] work of an imitator". Charles Ricketts ascribed to the later 1560s supposed retouches by Titian upon the Salome of the Prado, which he considered "otherwise a poor studio variant" of the Lavinia with the Charger, painted in the 1550s. Walter Gronau, with others, have thought it an original work by Titian.

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: Explain the History of this artwork, Salome (Titian, Madrid).

The picture was painted about 1550. It was possibly once in the collection of Charles I of England, and later entered the collection of Charles II of Spain. Crowe and Cavalcaselle called it "evidently [the] work of an imitator". Charles Ricketts ascribed to the later 1560s supposed retouches by Titian upon the Salome of the Prado, which he considered "otherwise a poor studio variant" of the Lavinia with the Charger, painted in the 1550s. Walter Gronau, with others, have thought it an original work by Titian.

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: How does Salome (Titian, Madrid) explain its History?

The picture was painted about 1550. It was possibly once in the collection of Charles I of England, and later entered the collection of Charles II of Spain. Crowe and Cavalcaselle called it "evidently [the] work of an imitator". Charles Ricketts ascribed to the later 1560s supposed retouches by Titian upon the Salome of the Prado, which he considered "otherwise a poor studio variant" of the Lavinia with the Charger, painted in the 1550s. Walter Gronau, with others, have thought it an original work by Titian.

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: In Salome (Titian, Madrid), how is the History discussed?

The picture was painted about 1550. It was possibly once in the collection of Charles I of England, and later entered the collection of Charles II of Spain. Crowe and Cavalcaselle called it "evidently [the] work of an imitator". Charles Ricketts ascribed to the later 1560s supposed retouches by Titian upon the Salome of the Prado, which he considered "otherwise a poor studio variant" of the Lavinia with the Charger, painted in the 1550s. Walter Gronau, with others, have thought it an original work by Titian.

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: Focus on Salome (Titian, Madrid) and explain the Analysis.

The composition of the painting is similar to the portrait of Lavinia at Berlin. According to Georg Gronau, "The colouring is more brilliant, deeper, in the Madrid picture."

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: Explain the Analysis of this artwork, Salome (Titian, Madrid).

The composition of the painting is similar to the portrait of Lavinia at Berlin. According to Georg Gronau, "The colouring is more brilliant, deeper, in the Madrid picture."

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: How does Salome (Titian, Madrid) explain its Analysis?

The composition of the painting is similar to the portrait of Lavinia at Berlin. According to Georg Gronau, "The colouring is more brilliant, deeper, in the Madrid picture."

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: In Salome (Titian, Madrid), how is the Analysis discussed?

The composition of the painting is similar to the portrait of Lavinia at Berlin. According to Georg Gronau, "The colouring is more brilliant, deeper, in the Madrid picture."

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: Focus on Salome (Titian, Madrid) and explain the Provenance.

Collection of the 1st Marquess of Leganés, 1652–1655;Spanish Royal Collection (purchased from the estate of the Marquess of Leganés, 1652–1655;Royal Alcázar of Madrid, 1666;New Royal Palace of Madrid, "secretaría de Estado" ["Secretary of State"], 1814–1818, no. 659?).

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: Explain the Provenance of this artwork, Salome (Titian, Madrid).

Collection of the 1st Marquess of Leganés, 1652–1655;Spanish Royal Collection (purchased from the estate of the Marquess of Leganés, 1652–1655;Royal Alcázar of Madrid, 1666;New Royal Palace of Madrid, "secretaría de Estado" ["Secretary of State"], 1814–1818, no. 659?).

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: How does Salome (Titian, Madrid) explain its Provenance?

Collection of the 1st Marquess of Leganés, 1652–1655;Spanish Royal Collection (purchased from the estate of the Marquess of Leganés, 1652–1655;Royal Alcázar of Madrid, 1666;New Royal Palace of Madrid, "secretaría de Estado" ["Secretary of State"], 1814–1818, no. 659?).

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


Salome (Titian, Madrid)

Prompt: In Salome (Titian, Madrid), how is the Provenance discussed?

Collection of the 1st Marquess of Leganés, 1652–1655;Spanish Royal Collection (purchased from the estate of the Marquess of Leganés, 1652–1655;Royal Alcázar of Madrid, 1666;New Royal Palace of Madrid, "secretaría de Estado" ["Secretary of State"], 1814–1818, no. 659?).

Diego Felipez de Guzmán, 1st Marquess of Leganés

Les Musées de Madrid: Le Prado, San Fernando, L'Armeria

Encyclopædia Britannica Eleventh Edition


The Big Apple (Waitomo)

Prompt: Focus on The Big Apple (Waitomo) and explain the abstract.

The Big Apple is a large statue of an apple in Waitomo, New Zealand. It is 7.5 metres (25 ft) tall, and located between Ōtorohanga and Te Kūiti on State Highway 3. It also includes a restaurant, café, and conference facility. It is near a 1,920-square-metre (20,700 sq ft) orchard, and has four dining areas with a capacity of 500 people. As of 2009, it attracted tourists in numbers of "thousands a week." It is one of New Zealand's big things.

Category:1995 establishments in New Zealand

Category:Outdoor sculptures in New Zealand

Category:Buildings and structures in Waikato


The Big Apple (Waitomo)

Prompt: Explain the abstract of this artwork, The Big Apple (Waitomo).

The Big Apple is a large statue of an apple in Waitomo, New Zealand. It is 7.5 metres (25 ft) tall, and located between Ōtorohanga and Te Kūiti on State Highway 3. It also includes a restaurant, café, and conference facility. It is near a 1,920-square-metre (20,700 sq ft) orchard, and has four dining areas with a capacity of 500 people. As of 2009, it attracted tourists in numbers of "thousands a week." It is one of New Zealand's big things.

Category:1995 establishments in New Zealand

Category:Outdoor sculptures in New Zealand

Category:Buildings and structures in Waikato


The Big Apple (Waitomo)

Prompt: How does The Big Apple (Waitomo) explain its abstract?

The Big Apple is a large statue of an apple in Waitomo, New Zealand. It is 7.5 metres (25 ft) tall, and located between Ōtorohanga and Te Kūiti on State Highway 3. It also includes a restaurant, café, and conference facility. It is near a 1,920-square-metre (20,700 sq ft) orchard, and has four dining areas with a capacity of 500 people. As of 2009, it attracted tourists in numbers of "thousands a week." It is one of New Zealand's big things.

Category:1995 establishments in New Zealand

Category:Outdoor sculptures in New Zealand

Category:Buildings and structures in Waikato


The Big Apple (Waitomo)

Prompt: In The Big Apple (Waitomo), how is the abstract discussed?

The Big Apple is a large statue of an apple in Waitomo, New Zealand. It is 7.5 metres (25 ft) tall, and located between Ōtorohanga and Te Kūiti on State Highway 3. It also includes a restaurant, café, and conference facility. It is near a 1,920-square-metre (20,700 sq ft) orchard, and has four dining areas with a capacity of 500 people. As of 2009, it attracted tourists in numbers of "thousands a week." It is one of New Zealand's big things.

Category:1995 establishments in New Zealand

Category:Outdoor sculptures in New Zealand

Category:Buildings and structures in Waikato


The Big Apple (Waitomo)

Prompt: Focus on The Big Apple (Waitomo) and explain the History.

Pieter and Betsy van Straalen purchased the orchard in 1963 and opened the Big Apple restaurant in 1995. The business was bought by their eldest son Arnold and his wife in 2003, who started a souvenir shop and converted a 1920s villa into a function venue that can hold 60 people. In 2009 they listed the business for sale for $3.9 million, saying that they wanted to experience tourism as tourists rather than business owners. In 2001 Arnold became chairman of an entity that promotes tourism to the Waitomo Caves, Destination Waitomo.In 2013 people queued at The Big Apple to make themselves be heard on proposed changes by the New Zealand Transport Agency on an intersection that was the site of two deaths of North American tourists in two accidents in 2012.In 2015 Tourism Holdings bought the Big Apple with the intention of it becoming a "high-class" tourist attraction. Tourism Holdings said that they would refurbish the retail space, and the interior of the conference facility which would include a new bar, new seating, and new flooring. It was expected to close on 30 September for these renovations and open again in December.

Category:1995 establishments in New Zealand

Category:Outdoor sculptures in New Zealand

Category:Buildings and structures in Waikato


The Big Apple (Waitomo)

Prompt: Explain the History of this artwork, The Big Apple (Waitomo).

Pieter and Betsy van Straalen purchased the orchard in 1963 and opened the Big Apple restaurant in 1995. The business was bought by their eldest son Arnold and his wife in 2003, who started a souvenir shop and converted a 1920s villa into a function venue that can hold 60 people. In 2009 they listed the business for sale for $3.9 million, saying that they wanted to experience tourism as tourists rather than business owners. In 2001 Arnold became chairman of an entity that promotes tourism to the Waitomo Caves, Destination Waitomo.In 2013 people queued at The Big Apple to make themselves be heard on proposed changes by the New Zealand Transport Agency on an intersection that was the site of two deaths of North American tourists in two accidents in 2012.In 2015 Tourism Holdings bought the Big Apple with the intention of it becoming a "high-class" tourist attraction. Tourism Holdings said that they would refurbish the retail space, and the interior of the conference facility which would include a new bar, new seating, and new flooring. It was expected to close on 30 September for these renovations and open again in December.

Category:1995 establishments in New Zealand

Category:Outdoor sculptures in New Zealand

Category:Buildings and structures in Waikato


The Big Apple (Waitomo)

Prompt: How does The Big Apple (Waitomo) explain its History?

Pieter and Betsy van Straalen purchased the orchard in 1963 and opened the Big Apple restaurant in 1995. The business was bought by their eldest son Arnold and his wife in 2003, who started a souvenir shop and converted a 1920s villa into a function venue that can hold 60 people. In 2009 they listed the business for sale for $3.9 million, saying that they wanted to experience tourism as tourists rather than business owners. In 2001 Arnold became chairman of an entity that promotes tourism to the Waitomo Caves, Destination Waitomo.In 2013 people queued at The Big Apple to make themselves be heard on proposed changes by the New Zealand Transport Agency on an intersection that was the site of two deaths of North American tourists in two accidents in 2012.In 2015 Tourism Holdings bought the Big Apple with the intention of it becoming a "high-class" tourist attraction. Tourism Holdings said that they would refurbish the retail space, and the interior of the conference facility which would include a new bar, new seating, and new flooring. It was expected to close on 30 September for these renovations and open again in December.

Category:1995 establishments in New Zealand

Category:Outdoor sculptures in New Zealand

Category:Buildings and structures in Waikato


The Big Apple (Waitomo)

Prompt: In The Big Apple (Waitomo), how is the History discussed?

Pieter and Betsy van Straalen purchased the orchard in 1963 and opened the Big Apple restaurant in 1995. The business was bought by their eldest son Arnold and his wife in 2003, who started a souvenir shop and converted a 1920s villa into a function venue that can hold 60 people. In 2009 they listed the business for sale for $3.9 million, saying that they wanted to experience tourism as tourists rather than business owners. In 2001 Arnold became chairman of an entity that promotes tourism to the Waitomo Caves, Destination Waitomo.In 2013 people queued at The Big Apple to make themselves be heard on proposed changes by the New Zealand Transport Agency on an intersection that was the site of two deaths of North American tourists in two accidents in 2012.In 2015 Tourism Holdings bought the Big Apple with the intention of it becoming a "high-class" tourist attraction. Tourism Holdings said that they would refurbish the retail space, and the interior of the conference facility which would include a new bar, new seating, and new flooring. It was expected to close on 30 September for these renovations and open again in December.

Category:1995 establishments in New Zealand

Category:Outdoor sculptures in New Zealand

Category:Buildings and structures in Waikato


Angie's Umbrella

Prompt: Focus on Angie's Umbrella and explain the abstract.

Angie's Umbrella is a 30-foot (9.1 m) tall metal sculpture by Jim Pridgeon and Benson Shaw, installed in Seattle, Washington, United States.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: Explain the abstract of this artwork, Angie's Umbrella.

Angie's Umbrella is a 30-foot (9.1 m) tall metal sculpture by Jim Pridgeon and Benson Shaw, installed in Seattle, Washington, United States.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: How does Angie's Umbrella explain its abstract?

Angie's Umbrella is a 30-foot (9.1 m) tall metal sculpture by Jim Pridgeon and Benson Shaw, installed in Seattle, Washington, United States.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: In Angie's Umbrella, how is the abstract discussed?

Angie's Umbrella is a 30-foot (9.1 m) tall metal sculpture by Jim Pridgeon and Benson Shaw, installed in Seattle, Washington, United States.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: Focus on Angie's Umbrella and explain the Description.

The sculpture of an inside-out umbrella is installed at the intersection of Elliott and Western Avenues at Lenora Street. Named after Pridgeon's grandmother, the 2003 artwork is made of stainless steel, powder coated aluminum, and cast urethane. It is 30 feet (9.1 m) tall and has a diameter of 45 feet (14 m). Regina Hackett of the Seattle Post-Intelligencer described the artwork as "lean, clean and even elegant, with black trim and red mesh metal creating a moiré pattern". Inspired by Seattle's rainy weather, the red sculpture rotates 360 degrees, depending on which way the wind is blowing. An artist statement published by the City of Seattle says, "The basic idea was to complete an artwork that would successfully meet the inherent aesthetic need of the site, while simultaneously gaining community support and passing engineering and city administrative review."

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: Explain the Description of this artwork, Angie's Umbrella.

The sculpture of an inside-out umbrella is installed at the intersection of Elliott and Western Avenues at Lenora Street. Named after Pridgeon's grandmother, the 2003 artwork is made of stainless steel, powder coated aluminum, and cast urethane. It is 30 feet (9.1 m) tall and has a diameter of 45 feet (14 m). Regina Hackett of the Seattle Post-Intelligencer described the artwork as "lean, clean and even elegant, with black trim and red mesh metal creating a moiré pattern". Inspired by Seattle's rainy weather, the red sculpture rotates 360 degrees, depending on which way the wind is blowing. An artist statement published by the City of Seattle says, "The basic idea was to complete an artwork that would successfully meet the inherent aesthetic need of the site, while simultaneously gaining community support and passing engineering and city administrative review."

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: How does Angie's Umbrella explain its Description?

The sculpture of an inside-out umbrella is installed at the intersection of Elliott and Western Avenues at Lenora Street. Named after Pridgeon's grandmother, the 2003 artwork is made of stainless steel, powder coated aluminum, and cast urethane. It is 30 feet (9.1 m) tall and has a diameter of 45 feet (14 m). Regina Hackett of the Seattle Post-Intelligencer described the artwork as "lean, clean and even elegant, with black trim and red mesh metal creating a moiré pattern". Inspired by Seattle's rainy weather, the red sculpture rotates 360 degrees, depending on which way the wind is blowing. An artist statement published by the City of Seattle says, "The basic idea was to complete an artwork that would successfully meet the inherent aesthetic need of the site, while simultaneously gaining community support and passing engineering and city administrative review."

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: In Angie's Umbrella, how is the Description discussed?

The sculpture of an inside-out umbrella is installed at the intersection of Elliott and Western Avenues at Lenora Street. Named after Pridgeon's grandmother, the 2003 artwork is made of stainless steel, powder coated aluminum, and cast urethane. It is 30 feet (9.1 m) tall and has a diameter of 45 feet (14 m). Regina Hackett of the Seattle Post-Intelligencer described the artwork as "lean, clean and even elegant, with black trim and red mesh metal creating a moiré pattern". Inspired by Seattle's rainy weather, the red sculpture rotates 360 degrees, depending on which way the wind is blowing. An artist statement published by the City of Seattle says, "The basic idea was to complete an artwork that would successfully meet the inherent aesthetic need of the site, while simultaneously gaining community support and passing engineering and city administrative review."

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: Focus on Angie's Umbrella and explain the History.

The artwork was commissioned by the Belltown and Denny Hill Business Associations, Belltown Community Council, and the Seattle Department of Neighborhoods' Early Implementation funds.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: Explain the History of this artwork, Angie's Umbrella.

The artwork was commissioned by the Belltown and Denny Hill Business Associations, Belltown Community Council, and the Seattle Department of Neighborhoods' Early Implementation funds.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: How does Angie's Umbrella explain its History?

The artwork was commissioned by the Belltown and Denny Hill Business Associations, Belltown Community Council, and the Seattle Department of Neighborhoods' Early Implementation funds.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: In Angie's Umbrella, how is the History discussed?

The artwork was commissioned by the Belltown and Denny Hill Business Associations, Belltown Community Council, and the Seattle Department of Neighborhoods' Early Implementation funds.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: Focus on Angie's Umbrella and explain the Reception.

The Seattle Post-Intelligencer's Regina Hackett said the artwork "puts a flashy punctuation point between the Market and Belltown" and complimented the artists, writing, "In other hands, an inside-out umbrella might have been corny or despicably cute." Writing for the Orlando Sentinel, John and Sally Macdonald said the work was "likely to become a beloved icon in soggy Seattle" in 2006. Angie's Umbrella has been included in multiple Curbed Seattle lists, including Kelly Skahan's 2011 overview of Seattle's "finest" public art, Sean Keeley's overview of the city's "most loathed" public art, and Keeley and Sarah Anne Lloyd's 2019 list of 30 "notable public art spots in Seattle". The sculpture has been included in a Frommer's walking tour of the city.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: Explain the Reception of this artwork, Angie's Umbrella.

The Seattle Post-Intelligencer's Regina Hackett said the artwork "puts a flashy punctuation point between the Market and Belltown" and complimented the artists, writing, "In other hands, an inside-out umbrella might have been corny or despicably cute." Writing for the Orlando Sentinel, John and Sally Macdonald said the work was "likely to become a beloved icon in soggy Seattle" in 2006. Angie's Umbrella has been included in multiple Curbed Seattle lists, including Kelly Skahan's 2011 overview of Seattle's "finest" public art, Sean Keeley's overview of the city's "most loathed" public art, and Keeley and Sarah Anne Lloyd's 2019 list of 30 "notable public art spots in Seattle". The sculpture has been included in a Frommer's walking tour of the city.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: How does Angie's Umbrella explain its Reception?

The Seattle Post-Intelligencer's Regina Hackett said the artwork "puts a flashy punctuation point between the Market and Belltown" and complimented the artists, writing, "In other hands, an inside-out umbrella might have been corny or despicably cute." Writing for the Orlando Sentinel, John and Sally Macdonald said the work was "likely to become a beloved icon in soggy Seattle" in 2006. Angie's Umbrella has been included in multiple Curbed Seattle lists, including Kelly Skahan's 2011 overview of Seattle's "finest" public art, Sean Keeley's overview of the city's "most loathed" public art, and Keeley and Sarah Anne Lloyd's 2019 list of 30 "notable public art spots in Seattle". The sculpture has been included in a Frommer's walking tour of the city.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Angie's Umbrella

Prompt: In Angie's Umbrella, how is the Reception discussed?

The Seattle Post-Intelligencer's Regina Hackett said the artwork "puts a flashy punctuation point between the Market and Belltown" and complimented the artists, writing, "In other hands, an inside-out umbrella might have been corny or despicably cute." Writing for the Orlando Sentinel, John and Sally Macdonald said the work was "likely to become a beloved icon in soggy Seattle" in 2006. Angie's Umbrella has been included in multiple Curbed Seattle lists, including Kelly Skahan's 2011 overview of Seattle's "finest" public art, Sean Keeley's overview of the city's "most loathed" public art, and Keeley and Sarah Anne Lloyd's 2019 list of 30 "notable public art spots in Seattle". The sculpture has been included in a Frommer's walking tour of the city.

Category:Stainless steel sculptures in Washington (state)

Category:2003 establishments in Washington (state)

Category:Aluminum sculptures in Washington (state)


Prompt: Focus on Virgin and Child with Two Angels (Cimabue) and explain the abstract.

The Virgin and Child with Two Angels is a panel painting by the Italian artist Cimabue in egg tempera on a poplar panel, dated to c. 1280. It has been held by the National Gallery in London since 2000.The painting measures 25.6 cm × 20.8 cm (10.1 in × 8.2 in). It depicts the Virgin and Child seated together on a throne, accompanied by two angels with long feathered wings. The composition is based on Byzantine models, but modified for a Western European audience: the throne has become three-dimensional, and the figures of the Virgin and Child are more human and less stylised than similar traditional Byzantine icons such as the Hodegetria.   The panel was rediscovered at Benacre Hall near Lowestoft in Suffolk in 2000, after the death of Sir John Gooch, 12th Baronet, as the contents of the house were being prepared for an auction sale. It may have been acquired in Florence in the early 19th century by his ancestor, Sir Edward Gooch, 6th Baronet, and survived a fire at the house in the 1920s.It is one of three known panels from a polyptych depicting the Passion of Christ. From its physical characteristics, it was the top left of four panels on the left leaf of a diptych, and it quickly became apparent from its size, style and method that it was almost identical to a panel held by the Frick Collection in New York since 1950, The Flagellation of Christ. The discovery of this panel encouraged a change in the attribution of the Frick panel from Duccio to Cimabue. A third panel, The Mocking of Christ,  was found in France in 2019, and auctioned for 24 million euros.The panel was put up for sale and was expected to sell for £10 million, but before it was sold it was accepted in lieu of inheritance tax and allocated to the National Gallery. The heirs were granted a £6.5 million tax exemption, and a donation from Sir John Paul Getty Jr. allowed the gallery to pay a further £700,000. The other contents of the hall were sold in May 2000 for £8.3 million, a record for a country house sale in the UK.

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child


Prompt: Explain the abstract of this artwork, Virgin and Child with Two Angels (Cimabue).

The Virgin and Child with Two Angels is a panel painting by the Italian artist Cimabue in egg tempera on a poplar panel, dated to c. 1280. It has been held by the National Gallery in London since 2000.The painting measures 25.6 cm × 20.8 cm (10.1 in × 8.2 in). It depicts the Virgin and Child seated together on a throne, accompanied by two angels with long feathered wings. The composition is based on Byzantine models, but modified for a Western European audience: the throne has become three-dimensional, and the figures of the Virgin and Child are more human and less stylised than similar traditional Byzantine icons such as the Hodegetria.   The panel was rediscovered at Benacre Hall near Lowestoft in Suffolk in 2000, after the death of Sir John Gooch, 12th Baronet, as the contents of the house were being prepared for an auction sale. It may have been acquired in Florence in the early 19th century by his ancestor, Sir Edward Gooch, 6th Baronet, and survived a fire at the house in the 1920s.It is one of three known panels from a polyptych depicting the Passion of Christ. From its physical characteristics, it was the top left of four panels on the left leaf of a diptych, and it quickly became apparent from its size, style and method that it was almost identical to a panel held by the Frick Collection in New York since 1950, The Flagellation of Christ. The discovery of this panel encouraged a change in the attribution of the Frick panel from Duccio to Cimabue. A third panel, The Mocking of Christ,  was found in France in 2019, and auctioned for 24 million euros.The panel was put up for sale and was expected to sell for £10 million, but before it was sold it was accepted in lieu of inheritance tax and allocated to the National Gallery. The heirs were granted a £6.5 million tax exemption, and a donation from Sir John Paul Getty Jr. allowed the gallery to pay a further £700,000. The other contents of the hall were sold in May 2000 for £8.3 million, a record for a country house sale in the UK.

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child


Prompt: How does Virgin and Child with Two Angels (Cimabue) explain its abstract?

The Virgin and Child with Two Angels is a panel painting by the Italian artist Cimabue in egg tempera on a poplar panel, dated to c. 1280. It has been held by the National Gallery in London since 2000.The painting measures 25.6 cm × 20.8 cm (10.1 in × 8.2 in). It depicts the Virgin and Child seated together on a throne, accompanied by two angels with long feathered wings. The composition is based on Byzantine models, but modified for a Western European audience: the throne has become three-dimensional, and the figures of the Virgin and Child are more human and less stylised than similar traditional Byzantine icons such as the Hodegetria.   The panel was rediscovered at Benacre Hall near Lowestoft in Suffolk in 2000, after the death of Sir John Gooch, 12th Baronet, as the contents of the house were being prepared for an auction sale. It may have been acquired in Florence in the early 19th century by his ancestor, Sir Edward Gooch, 6th Baronet, and survived a fire at the house in the 1920s.It is one of three known panels from a polyptych depicting the Passion of Christ. From its physical characteristics, it was the top left of four panels on the left leaf of a diptych, and it quickly became apparent from its size, style and method that it was almost identical to a panel held by the Frick Collection in New York since 1950, The Flagellation of Christ. The discovery of this panel encouraged a change in the attribution of the Frick panel from Duccio to Cimabue. A third panel, The Mocking of Christ,  was found in France in 2019, and auctioned for 24 million euros.The panel was put up for sale and was expected to sell for £10 million, but before it was sold it was accepted in lieu of inheritance tax and allocated to the National Gallery. The heirs were granted a £6.5 million tax exemption, and a donation from Sir John Paul Getty Jr. allowed the gallery to pay a further £700,000. The other contents of the hall were sold in May 2000 for £8.3 million, a record for a country house sale in the UK.

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child


Prompt: In Virgin and Child with Two Angels (Cimabue), how is the abstract discussed?

The Virgin and Child with Two Angels is a panel painting by the Italian artist Cimabue in egg tempera on a poplar panel, dated to c. 1280. It has been held by the National Gallery in London since 2000.The painting measures 25.6 cm × 20.8 cm (10.1 in × 8.2 in). It depicts the Virgin and Child seated together on a throne, accompanied by two angels with long feathered wings. The composition is based on Byzantine models, but modified for a Western European audience: the throne has become three-dimensional, and the figures of the Virgin and Child are more human and less stylised than similar traditional Byzantine icons such as the Hodegetria.   The panel was rediscovered at Benacre Hall near Lowestoft in Suffolk in 2000, after the death of Sir John Gooch, 12th Baronet, as the contents of the house were being prepared for an auction sale. It may have been acquired in Florence in the early 19th century by his ancestor, Sir Edward Gooch, 6th Baronet, and survived a fire at the house in the 1920s.It is one of three known panels from a polyptych depicting the Passion of Christ. From its physical characteristics, it was the top left of four panels on the left leaf of a diptych, and it quickly became apparent from its size, style and method that it was almost identical to a panel held by the Frick Collection in New York since 1950, The Flagellation of Christ. The discovery of this panel encouraged a change in the attribution of the Frick panel from Duccio to Cimabue. A third panel, The Mocking of Christ,  was found in France in 2019, and auctioned for 24 million euros.The panel was put up for sale and was expected to sell for £10 million, but before it was sold it was accepted in lieu of inheritance tax and allocated to the National Gallery. The heirs were granted a £6.5 million tax exemption, and a donation from Sir John Paul Getty Jr. allowed the gallery to pay a further £700,000. The other contents of the hall were sold in May 2000 for £8.3 million, a record for a country house sale in the UK.

Category:Paintings in the National Gallery, London

Category:Paintings of the Madonna and Child


The Cathedral (sculpture)

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

The Arc of the Covenant or The Cathedral is a sculpture by the French artist Auguste Rodin, conceived in 1908.

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

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

The Arc of the Covenant or The Cathedral is a sculpture by the French artist Auguste Rodin, conceived in 1908.

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

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

The Arc of the Covenant or The Cathedral is a sculpture by the French artist Auguste Rodin, conceived in 1908.

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

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

The Arc of the Covenant or The Cathedral is a sculpture by the French artist Auguste Rodin, conceived in 1908.

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

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

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

Category:Sculptures in the Museo Soumaya


The Cathedral (sculpture)

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

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

Category:Sculptures in the Museo Soumaya