Statue of Stephen F. Austin

Prompt: Focus on Statue of Stephen F. Austin and explain the Design.

Stephen F. Austin is a full-length statue in marble. It shows Austin standing on slightly uneven ground with his left foot forward, looking up and ahead into the distance. The lowered hands hold a partially unrolled scroll, meant to represent a map, while a Kentucky long rifle leans against the left hip and leg. Austin is portrayed as a young explorer dressed in fringed buckskins. The front face of the self base (the marble platform on which the figure stands) is inscribed "STEPHEN F. AUSTIN".Ney used authentic period objects for reference in developing the details of the sculpture, including the long rifle and scroll map. When critics complained that the Houston statue was 6 feet 2 inches (188 cm) tall while the Austin statue was only 5 feet 7 inches (170 cm), she replied that these had been the actual heights of the men, and that anyone objecting should "take the issue up not with her but with God.": 139

United States Government Printing Office

Category:Monuments and memorials in Texas

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

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

Category:National Statuary Hall Collection


Statue of Stephen F. Austin

Prompt: Explain the Design of this artwork, Statue of Stephen F. Austin.

Stephen F. Austin is a full-length statue in marble. It shows Austin standing on slightly uneven ground with his left foot forward, looking up and ahead into the distance. The lowered hands hold a partially unrolled scroll, meant to represent a map, while a Kentucky long rifle leans against the left hip and leg. Austin is portrayed as a young explorer dressed in fringed buckskins. The front face of the self base (the marble platform on which the figure stands) is inscribed "STEPHEN F. AUSTIN".Ney used authentic period objects for reference in developing the details of the sculpture, including the long rifle and scroll map. When critics complained that the Houston statue was 6 feet 2 inches (188 cm) tall while the Austin statue was only 5 feet 7 inches (170 cm), she replied that these had been the actual heights of the men, and that anyone objecting should "take the issue up not with her but with God.": 139

United States Government Printing Office

Category:Monuments and memorials in Texas

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

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

Category:National Statuary Hall Collection


Statue of Stephen F. Austin

Prompt: How does Statue of Stephen F. Austin explain its Design?

Stephen F. Austin is a full-length statue in marble. It shows Austin standing on slightly uneven ground with his left foot forward, looking up and ahead into the distance. The lowered hands hold a partially unrolled scroll, meant to represent a map, while a Kentucky long rifle leans against the left hip and leg. Austin is portrayed as a young explorer dressed in fringed buckskins. The front face of the self base (the marble platform on which the figure stands) is inscribed "STEPHEN F. AUSTIN".Ney used authentic period objects for reference in developing the details of the sculpture, including the long rifle and scroll map. When critics complained that the Houston statue was 6 feet 2 inches (188 cm) tall while the Austin statue was only 5 feet 7 inches (170 cm), she replied that these had been the actual heights of the men, and that anyone objecting should "take the issue up not with her but with God.": 139

United States Government Printing Office

Category:Monuments and memorials in Texas

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

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

Category:National Statuary Hall Collection


Statue of Stephen F. Austin

Prompt: In Statue of Stephen F. Austin, how is the Design discussed?

Stephen F. Austin is a full-length statue in marble. It shows Austin standing on slightly uneven ground with his left foot forward, looking up and ahead into the distance. The lowered hands hold a partially unrolled scroll, meant to represent a map, while a Kentucky long rifle leans against the left hip and leg. Austin is portrayed as a young explorer dressed in fringed buckskins. The front face of the self base (the marble platform on which the figure stands) is inscribed "STEPHEN F. AUSTIN".Ney used authentic period objects for reference in developing the details of the sculpture, including the long rifle and scroll map. When critics complained that the Houston statue was 6 feet 2 inches (188 cm) tall while the Austin statue was only 5 feet 7 inches (170 cm), she replied that these had been the actual heights of the men, and that anyone objecting should "take the issue up not with her but with God.": 139

United States Government Printing Office

Category:Monuments and memorials in Texas

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

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

Category:National Statuary Hall Collection


Statue of Robert Baden-Powell, Poole

Prompt: Focus on Statue of Robert Baden-Powell, Poole and explain the abstract.

A statue of Robert Baden-Powell, founder of Scouting, is installed on the Quay in Poole harbour, Dorset on the south coast of England. The statue, erected in 2008, is a life-size bronze of Robert Baden-Powell by sculptor David Annand. It portrays Baden-Powell in his scout uniform, seated on a log as if for a campfire, with a pair of log seats either side which "allow easy access for photo opportunities".

Category:Scouting monuments and memorials

Bournemouth, Christchurch and Poole Council

Category:Monuments and memorials in the United Kingdom

Robert Baden-Powell, 1st Baron Baden-Powell

Actions against memorials in the United Kingdom during the George Floyd protests

Category:Scouting and Guiding in the United Kingdom

Category:Buildings and structures in Poole

Category:2008 establishments in the United Kingdom

Category:George Floyd protests in the United Kingdom

Category:Sculptures of men in the United Kingdom


Statue of Robert Baden-Powell, Poole

Prompt: Explain the abstract of this artwork, Statue of Robert Baden-Powell, Poole.

A statue of Robert Baden-Powell, founder of Scouting, is installed on the Quay in Poole harbour, Dorset on the south coast of England. The statue, erected in 2008, is a life-size bronze of Robert Baden-Powell by sculptor David Annand. It portrays Baden-Powell in his scout uniform, seated on a log as if for a campfire, with a pair of log seats either side which "allow easy access for photo opportunities".

Category:Scouting monuments and memorials

Bournemouth, Christchurch and Poole Council

Category:Monuments and memorials in the United Kingdom

Robert Baden-Powell, 1st Baron Baden-Powell

Actions against memorials in the United Kingdom during the George Floyd protests

Category:Scouting and Guiding in the United Kingdom

Category:Buildings and structures in Poole

Category:2008 establishments in the United Kingdom

Category:George Floyd protests in the United Kingdom

Category:Sculptures of men in the United Kingdom


Statue of Robert Baden-Powell, Poole

Prompt: How does Statue of Robert Baden-Powell, Poole explain its abstract?

A statue of Robert Baden-Powell, founder of Scouting, is installed on the Quay in Poole harbour, Dorset on the south coast of England. The statue, erected in 2008, is a life-size bronze of Robert Baden-Powell by sculptor David Annand. It portrays Baden-Powell in his scout uniform, seated on a log as if for a campfire, with a pair of log seats either side which "allow easy access for photo opportunities".

Category:Scouting monuments and memorials

Bournemouth, Christchurch and Poole Council

Category:Monuments and memorials in the United Kingdom

Robert Baden-Powell, 1st Baron Baden-Powell

Actions against memorials in the United Kingdom during the George Floyd protests

Category:Scouting and Guiding in the United Kingdom

Category:Buildings and structures in Poole

Category:2008 establishments in the United Kingdom

Category:George Floyd protests in the United Kingdom

Category:Sculptures of men in the United Kingdom


Statue of Robert Baden-Powell, Poole

Prompt: In Statue of Robert Baden-Powell, Poole, how is the abstract discussed?

A statue of Robert Baden-Powell, founder of Scouting, is installed on the Quay in Poole harbour, Dorset on the south coast of England. The statue, erected in 2008, is a life-size bronze of Robert Baden-Powell by sculptor David Annand. It portrays Baden-Powell in his scout uniform, seated on a log as if for a campfire, with a pair of log seats either side which "allow easy access for photo opportunities".

Category:Scouting monuments and memorials

Bournemouth, Christchurch and Poole Council

Category:Monuments and memorials in the United Kingdom

Robert Baden-Powell, 1st Baron Baden-Powell

Actions against memorials in the United Kingdom during the George Floyd protests

Category:Scouting and Guiding in the United Kingdom

Category:Buildings and structures in Poole

Category:2008 establishments in the United Kingdom

Category:George Floyd protests in the United Kingdom

Category:Sculptures of men in the United Kingdom


Statue of Robert Baden-Powell, Poole

Prompt: Focus on Statue of Robert Baden-Powell, Poole and explain the History.

The memorial was unveiled on 13 August 2008, facing Brownsea Island. The island was the site of Baden-Powell's first camp in 1907 which is seen as the start of the Scout and Guide movement.Robert Baden-Powell has been criticised over alleged events during his army career and his comments of support concerning Adolf Hitler and his autobiography, Mein Kampf. His biographer, Tim Jeal, said that any admiration was limited to his and Hitler's shared ideas for boys' education and liking Mein Kampf's references to character training. In June 2020, the memorial appeared on a list of targets by protesters during the George Floyd protests in Britain. Bournemouth, Christchurch and Poole Council planned to move it into storage pending discussion about its future, but council workers failed to remove the statue on 11 June 2020 as planned because the foundations were deeper than they had realised. A group of local people then surrounded the statue to prevent its removal and protect it from both council workers and activists. The council announced that it would arrange 24 hour security for the statue until either the statue had been removed or the threat had passed. On 12 June the statue was boarded up by the council for its protection.In response to the controversy, Bear Grylls, current  Chief Scout, and successor to Baden-Powell, said, "As Scouts, we most certainly do not celebrate Baden-Powell for his failings. We see them and we acknowledge them. ... But we also recognise that Baden-Powell is part of our history, and history is nothing if we do not learn from it. ... it's right that we take time to listen, to educate ourselves, and reflect on our movement’s history. We need the humility to recognise there are times when the views and actions from our Scouting’s past do not always match the values we live by today. We must learn, adapt, and improve. ... Baden-Powell may have taken the first step in creating Scouting, but the journey continues today without him. We know where we came from but we are not going back." Grylls also said that he hoped Scouting statues  remain in place "to remind us all of one thing - the huge positive influence that Scouting continues to bring to so many young people worldwide."

Category:Scouting monuments and memorials

Category:Monuments and memorials in the United Kingdom

Robert Baden-Powell, 1st Baron Baden-Powell

Actions against memorials in the United Kingdom during the George Floyd protests

Category:Scouting and Guiding in the United Kingdom

Category:Buildings and structures in Poole

Category:2008 establishments in the United Kingdom

Category:George Floyd protests in the United Kingdom

Category:Sculptures of men in the United Kingdom


Statue of Robert Baden-Powell, Poole

Prompt: Explain the History of this artwork, Statue of Robert Baden-Powell, Poole.

The memorial was unveiled on 13 August 2008, facing Brownsea Island. The island was the site of Baden-Powell's first camp in 1907 which is seen as the start of the Scout and Guide movement.Robert Baden-Powell has been criticised over alleged events during his army career and his comments of support concerning Adolf Hitler and his autobiography, Mein Kampf. His biographer, Tim Jeal, said that any admiration was limited to his and Hitler's shared ideas for boys' education and liking Mein Kampf's references to character training. In June 2020, the memorial appeared on a list of targets by protesters during the George Floyd protests in Britain. Bournemouth, Christchurch and Poole Council planned to move it into storage pending discussion about its future, but council workers failed to remove the statue on 11 June 2020 as planned because the foundations were deeper than they had realised. A group of local people then surrounded the statue to prevent its removal and protect it from both council workers and activists. The council announced that it would arrange 24 hour security for the statue until either the statue had been removed or the threat had passed. On 12 June the statue was boarded up by the council for its protection.In response to the controversy, Bear Grylls, current  Chief Scout, and successor to Baden-Powell, said, "As Scouts, we most certainly do not celebrate Baden-Powell for his failings. We see them and we acknowledge them. ... But we also recognise that Baden-Powell is part of our history, and history is nothing if we do not learn from it. ... it's right that we take time to listen, to educate ourselves, and reflect on our movement’s history. We need the humility to recognise there are times when the views and actions from our Scouting’s past do not always match the values we live by today. We must learn, adapt, and improve. ... Baden-Powell may have taken the first step in creating Scouting, but the journey continues today without him. We know where we came from but we are not going back." Grylls also said that he hoped Scouting statues  remain in place "to remind us all of one thing - the huge positive influence that Scouting continues to bring to so many young people worldwide."

Category:Scouting monuments and memorials

Category:Monuments and memorials in the United Kingdom

Robert Baden-Powell, 1st Baron Baden-Powell

Actions against memorials in the United Kingdom during the George Floyd protests

Category:Scouting and Guiding in the United Kingdom

Category:Buildings and structures in Poole

Category:2008 establishments in the United Kingdom

Category:George Floyd protests in the United Kingdom

Category:Sculptures of men in the United Kingdom


Statue of Robert Baden-Powell, Poole

Prompt: How does Statue of Robert Baden-Powell, Poole explain its History?

The memorial was unveiled on 13 August 2008, facing Brownsea Island. The island was the site of Baden-Powell's first camp in 1907 which is seen as the start of the Scout and Guide movement.Robert Baden-Powell has been criticised over alleged events during his army career and his comments of support concerning Adolf Hitler and his autobiography, Mein Kampf. His biographer, Tim Jeal, said that any admiration was limited to his and Hitler's shared ideas for boys' education and liking Mein Kampf's references to character training. In June 2020, the memorial appeared on a list of targets by protesters during the George Floyd protests in Britain. Bournemouth, Christchurch and Poole Council planned to move it into storage pending discussion about its future, but council workers failed to remove the statue on 11 June 2020 as planned because the foundations were deeper than they had realised. A group of local people then surrounded the statue to prevent its removal and protect it from both council workers and activists. The council announced that it would arrange 24 hour security for the statue until either the statue had been removed or the threat had passed. On 12 June the statue was boarded up by the council for its protection.In response to the controversy, Bear Grylls, current  Chief Scout, and successor to Baden-Powell, said, "As Scouts, we most certainly do not celebrate Baden-Powell for his failings. We see them and we acknowledge them. ... But we also recognise that Baden-Powell is part of our history, and history is nothing if we do not learn from it. ... it's right that we take time to listen, to educate ourselves, and reflect on our movement’s history. We need the humility to recognise there are times when the views and actions from our Scouting’s past do not always match the values we live by today. We must learn, adapt, and improve. ... Baden-Powell may have taken the first step in creating Scouting, but the journey continues today without him. We know where we came from but we are not going back." Grylls also said that he hoped Scouting statues  remain in place "to remind us all of one thing - the huge positive influence that Scouting continues to bring to so many young people worldwide."

Category:Scouting monuments and memorials

Category:Monuments and memorials in the United Kingdom

Robert Baden-Powell, 1st Baron Baden-Powell

Actions against memorials in the United Kingdom during the George Floyd protests

Category:Scouting and Guiding in the United Kingdom

Category:Buildings and structures in Poole

Category:2008 establishments in the United Kingdom

Category:George Floyd protests in the United Kingdom

Category:Sculptures of men in the United Kingdom


Statue of Robert Baden-Powell, Poole

Prompt: In Statue of Robert Baden-Powell, Poole, how is the History discussed?

The memorial was unveiled on 13 August 2008, facing Brownsea Island. The island was the site of Baden-Powell's first camp in 1907 which is seen as the start of the Scout and Guide movement.Robert Baden-Powell has been criticised over alleged events during his army career and his comments of support concerning Adolf Hitler and his autobiography, Mein Kampf. His biographer, Tim Jeal, said that any admiration was limited to his and Hitler's shared ideas for boys' education and liking Mein Kampf's references to character training. In June 2020, the memorial appeared on a list of targets by protesters during the George Floyd protests in Britain. Bournemouth, Christchurch and Poole Council planned to move it into storage pending discussion about its future, but council workers failed to remove the statue on 11 June 2020 as planned because the foundations were deeper than they had realised. A group of local people then surrounded the statue to prevent its removal and protect it from both council workers and activists. The council announced that it would arrange 24 hour security for the statue until either the statue had been removed or the threat had passed. On 12 June the statue was boarded up by the council for its protection.In response to the controversy, Bear Grylls, current  Chief Scout, and successor to Baden-Powell, said, "As Scouts, we most certainly do not celebrate Baden-Powell for his failings. We see them and we acknowledge them. ... But we also recognise that Baden-Powell is part of our history, and history is nothing if we do not learn from it. ... it's right that we take time to listen, to educate ourselves, and reflect on our movement’s history. We need the humility to recognise there are times when the views and actions from our Scouting’s past do not always match the values we live by today. We must learn, adapt, and improve. ... Baden-Powell may have taken the first step in creating Scouting, but the journey continues today without him. We know where we came from but we are not going back." Grylls also said that he hoped Scouting statues  remain in place "to remind us all of one thing - the huge positive influence that Scouting continues to bring to so many young people worldwide."

Category:Scouting monuments and memorials

Category:Monuments and memorials in the United Kingdom

Robert Baden-Powell, 1st Baron Baden-Powell

Actions against memorials in the United Kingdom during the George Floyd protests

Category:Scouting and Guiding in the United Kingdom

Category:Buildings and structures in Poole

Category:2008 establishments in the United Kingdom

Category:George Floyd protests in the United Kingdom

Category:Sculptures of men in the United Kingdom


Vision of Spain

Prompt: Focus on Vision of Spain and explain the abstract.

Vision of Spain, (Spanish: Visión de España) and also known as The Provinces of Spain, is a 1913–19 series of fourteen monumental canvases by Spanish painter Joaquín Sorolla depicting the customs, costumes, and traditions of regions of Spain. The series was commissioned by Archie Huntington for the Hispanic Society of America (HSA).

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Explain the abstract of this artwork, Vision of Spain.

Vision of Spain, (Spanish: Visión de España) and also known as The Provinces of Spain, is a 1913–19 series of fourteen monumental canvases by Spanish painter Joaquín Sorolla depicting the customs, costumes, and traditions of regions of Spain. The series was commissioned by Archie Huntington for the Hispanic Society of America (HSA).

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: How does Vision of Spain explain its abstract?

Vision of Spain, (Spanish: Visión de España) and also known as The Provinces of Spain, is a 1913–19 series of fourteen monumental canvases by Spanish painter Joaquín Sorolla depicting the customs, costumes, and traditions of regions of Spain. The series was commissioned by Archie Huntington for the Hispanic Society of America (HSA).

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: In Vision of Spain, how is the abstract discussed?

Vision of Spain, (Spanish: Visión de España) and also known as The Provinces of Spain, is a 1913–19 series of fourteen monumental canvases by Spanish painter Joaquín Sorolla depicting the customs, costumes, and traditions of regions of Spain. The series was commissioned by Archie Huntington for the Hispanic Society of America (HSA).

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Focus on Vision of Spain and explain the Background.

In 1911, Sorolla met Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These fourteen magnificent murals range from 12 to 14 feet (3.7 to 4.3 m) in height, and total 227 feet (69 m) in length. The major commission of his career, it would dominate the later years of Sorolla's life.Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific Vision of Spain, eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the paintings again on permanent display.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Explain the Background of this artwork, Vision of Spain.

In 1911, Sorolla met Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These fourteen magnificent murals range from 12 to 14 feet (3.7 to 4.3 m) in height, and total 227 feet (69 m) in length. The major commission of his career, it would dominate the later years of Sorolla's life.Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific Vision of Spain, eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the paintings again on permanent display.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: How does Vision of Spain explain its Background?

In 1911, Sorolla met Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These fourteen magnificent murals range from 12 to 14 feet (3.7 to 4.3 m) in height, and total 227 feet (69 m) in length. The major commission of his career, it would dominate the later years of Sorolla's life.Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific Vision of Spain, eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the paintings again on permanent display.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: In Vision of Spain, how is the Background discussed?

In 1911, Sorolla met Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These fourteen magnificent murals range from 12 to 14 feet (3.7 to 4.3 m) in height, and total 227 feet (69 m) in length. The major commission of his career, it would dominate the later years of Sorolla's life.Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific Vision of Spain, eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the paintings again on permanent display.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Focus on Vision of Spain and explain the Critical reception.

In 1957, Ruth Matilda Anderson, Curator of Costumes at the Hispanic Society of America (HSA), published her book Costumes: Painted by Sorolla in his Provinces of Spain. In great detail, she commented on the ethnographical background, referring to local dress and lifestyles, regional Spanish history and literature of Sorolla's paintings. Her book included 105 black-and-white illustrations, showing details of the canvases, as well as accompanying sketches by Sorolla in oil or watercolor from the collection of the HSA, paintings from private collections and oil studies in the Sorolla Museum in Madrid.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Explain the Critical reception of this artwork, Vision of Spain.

In 1957, Ruth Matilda Anderson, Curator of Costumes at the Hispanic Society of America (HSA), published her book Costumes: Painted by Sorolla in his Provinces of Spain. In great detail, she commented on the ethnographical background, referring to local dress and lifestyles, regional Spanish history and literature of Sorolla's paintings. Her book included 105 black-and-white illustrations, showing details of the canvases, as well as accompanying sketches by Sorolla in oil or watercolor from the collection of the HSA, paintings from private collections and oil studies in the Sorolla Museum in Madrid.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: How does Vision of Spain explain its Critical reception?

In 1957, Ruth Matilda Anderson, Curator of Costumes at the Hispanic Society of America (HSA), published her book Costumes: Painted by Sorolla in his Provinces of Spain. In great detail, she commented on the ethnographical background, referring to local dress and lifestyles, regional Spanish history and literature of Sorolla's paintings. Her book included 105 black-and-white illustrations, showing details of the canvases, as well as accompanying sketches by Sorolla in oil or watercolor from the collection of the HSA, paintings from private collections and oil studies in the Sorolla Museum in Madrid.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: In Vision of Spain, how is the Critical reception discussed?

In 1957, Ruth Matilda Anderson, Curator of Costumes at the Hispanic Society of America (HSA), published her book Costumes: Painted by Sorolla in his Provinces of Spain. In great detail, she commented on the ethnographical background, referring to local dress and lifestyles, regional Spanish history and literature of Sorolla's paintings. Her book included 105 black-and-white illustrations, showing details of the canvases, as well as accompanying sketches by Sorolla in oil or watercolor from the collection of the HSA, paintings from private collections and oil studies in the Sorolla Museum in Madrid.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Focus on Vision of Spain and explain the Exhibitions.

A few years before the original paintings could be shown in Spain, the Thyssen-Bornemisza Museum in Madrid and the Museum of Fine Arts in Valencia had presented the exhibition "Sorolla and the Hispanic Society" from late 1998 to early 1999. It showed sketches and preliminary studies by Sorolla for the paintings of the cycle as well as portraits of important Spaniards that Sorolla had created for the Hispanic Society.From December 2011 to March 2012, the Queen Sofía Spanish Institute in New York hosted an exhibition entitled "Joaquín Sorolla & The Glory of Spanish Dress". Conceived by fashion designer Oscar de la Renta, chairman of the Institute's board of directors, it displayed numerous original pieces of clothing, jewelry, sketches and photographs from the archives of the Sorolla Museum, which the artist had used or collected during his work for the paintings.From December 2013 to May 2014, the Sorolla Museum and museums in Alicante and Castellón showed an exhibition titled "Fiesta y color. La mirada etnográfica de Sorolla" (Festivity and Color. The ethnographical view of Sorolla). Among documentary photographs, studies and other of his paintings of people in Spanish traditional dress, it presented several costumes with accompanying jewelry collected by Sorolla, reproduced for example in the painting Castilla. La fiesta del pan.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Explain the Exhibitions of this artwork, Vision of Spain.

A few years before the original paintings could be shown in Spain, the Thyssen-Bornemisza Museum in Madrid and the Museum of Fine Arts in Valencia had presented the exhibition "Sorolla and the Hispanic Society" from late 1998 to early 1999. It showed sketches and preliminary studies by Sorolla for the paintings of the cycle as well as portraits of important Spaniards that Sorolla had created for the Hispanic Society.From December 2011 to March 2012, the Queen Sofía Spanish Institute in New York hosted an exhibition entitled "Joaquín Sorolla & The Glory of Spanish Dress". Conceived by fashion designer Oscar de la Renta, chairman of the Institute's board of directors, it displayed numerous original pieces of clothing, jewelry, sketches and photographs from the archives of the Sorolla Museum, which the artist had used or collected during his work for the paintings.From December 2013 to May 2014, the Sorolla Museum and museums in Alicante and Castellón showed an exhibition titled "Fiesta y color. La mirada etnográfica de Sorolla" (Festivity and Color. The ethnographical view of Sorolla). Among documentary photographs, studies and other of his paintings of people in Spanish traditional dress, it presented several costumes with accompanying jewelry collected by Sorolla, reproduced for example in the painting Castilla. La fiesta del pan.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: How does Vision of Spain explain its Exhibitions?

A few years before the original paintings could be shown in Spain, the Thyssen-Bornemisza Museum in Madrid and the Museum of Fine Arts in Valencia had presented the exhibition "Sorolla and the Hispanic Society" from late 1998 to early 1999. It showed sketches and preliminary studies by Sorolla for the paintings of the cycle as well as portraits of important Spaniards that Sorolla had created for the Hispanic Society.From December 2011 to March 2012, the Queen Sofía Spanish Institute in New York hosted an exhibition entitled "Joaquín Sorolla & The Glory of Spanish Dress". Conceived by fashion designer Oscar de la Renta, chairman of the Institute's board of directors, it displayed numerous original pieces of clothing, jewelry, sketches and photographs from the archives of the Sorolla Museum, which the artist had used or collected during his work for the paintings.From December 2013 to May 2014, the Sorolla Museum and museums in Alicante and Castellón showed an exhibition titled "Fiesta y color. La mirada etnográfica de Sorolla" (Festivity and Color. The ethnographical view of Sorolla). Among documentary photographs, studies and other of his paintings of people in Spanish traditional dress, it presented several costumes with accompanying jewelry collected by Sorolla, reproduced for example in the painting Castilla. La fiesta del pan.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: In Vision of Spain, how is the Exhibitions discussed?

A few years before the original paintings could be shown in Spain, the Thyssen-Bornemisza Museum in Madrid and the Museum of Fine Arts in Valencia had presented the exhibition "Sorolla and the Hispanic Society" from late 1998 to early 1999. It showed sketches and preliminary studies by Sorolla for the paintings of the cycle as well as portraits of important Spaniards that Sorolla had created for the Hispanic Society.From December 2011 to March 2012, the Queen Sofía Spanish Institute in New York hosted an exhibition entitled "Joaquín Sorolla & The Glory of Spanish Dress". Conceived by fashion designer Oscar de la Renta, chairman of the Institute's board of directors, it displayed numerous original pieces of clothing, jewelry, sketches and photographs from the archives of the Sorolla Museum, which the artist had used or collected during his work for the paintings.From December 2013 to May 2014, the Sorolla Museum and museums in Alicante and Castellón showed an exhibition titled "Fiesta y color. La mirada etnográfica de Sorolla" (Festivity and Color. The ethnographical view of Sorolla). Among documentary photographs, studies and other of his paintings of people in Spanish traditional dress, it presented several costumes with accompanying jewelry collected by Sorolla, reproduced for example in the painting Castilla. La fiesta del pan.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Focus on Vision of Spain and explain the In other art forms.

On June 12, 2013, the Spanish National Dance Company presented the world premiere of a choreography entitled Sorolla at the Matadero Cultural Center in Madrid, based on the costumes, customs and dances of the individual paintings of the Vision of Spain. This choreography, with 250 custom-made costumes, was also performed at the Teatre del Liceu in Barcelona in 2015 and again at the Teatro Real in Madrid in November 2017.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Explain the In other art forms of this artwork, Vision of Spain.

On June 12, 2013, the Spanish National Dance Company presented the world premiere of a choreography entitled Sorolla at the Matadero Cultural Center in Madrid, based on the costumes, customs and dances of the individual paintings of the Vision of Spain. This choreography, with 250 custom-made costumes, was also performed at the Teatre del Liceu in Barcelona in 2015 and again at the Teatro Real in Madrid in November 2017.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: How does Vision of Spain explain its In other art forms?

On June 12, 2013, the Spanish National Dance Company presented the world premiere of a choreography entitled Sorolla at the Matadero Cultural Center in Madrid, based on the costumes, customs and dances of the individual paintings of the Vision of Spain. This choreography, with 250 custom-made costumes, was also performed at the Teatre del Liceu in Barcelona in 2015 and again at the Teatro Real in Madrid in November 2017.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: In Vision of Spain, how is the In other art forms discussed?

On June 12, 2013, the Spanish National Dance Company presented the world premiere of a choreography entitled Sorolla at the Matadero Cultural Center in Madrid, based on the costumes, customs and dances of the individual paintings of the Vision of Spain. This choreography, with 250 custom-made costumes, was also performed at the Teatre del Liceu in Barcelona in 2015 and again at the Teatro Real in Madrid in November 2017.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Focus on Vision of Spain and explain the Literature.

Haddon, Madeleine (2021). Sorolla: Vision of Spain in the Hispanic Society of America. Madrid: Ediciones El Viso. ISBN 978-84-124439-4-3. OCLC 1302191518.{{cite book}}:  CS1 maint: date and year (link)Jennifer Park, Molly Sorkin, Joaquín Sorolla y Bastida, Queen Sofía Spanish Institute (2011). Joaquín Sorolla and the Glory of Spanish Dress: [Published on Occasion of the Exhibition "Joaquín Sorolla and the Glory of Spanish Dress" on view at Queen Sofía Spanish Institute New York, December 8, 2011 - March 10, 2012]. New York NY: Queen Sofía Spanish Institute, ISBN 9780615548180Isabel Justo, Tomás Ferré Facundo, Sofía Barrón Abad. La Visión de España de Joaquín Sorolla. In Miradas sobre España.(Teoría e historia de las artes). Barcelona: Anthropos, 2011, pp. 413–428.Marcus B. Burke: Visión de España. In José Luis Diez, Javier Barón (eds.): Joaquín Sorolla 1863–1923 (2009). Exhibition catalog Museo Nacional del Prado, Madrid, ISBN 978-84-8480-183-2, pp. 424–455.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: Explain the Literature of this artwork, Vision of Spain.

Haddon, Madeleine (2021). Sorolla: Vision of Spain in the Hispanic Society of America. Madrid: Ediciones El Viso. ISBN 978-84-124439-4-3. OCLC 1302191518.{{cite book}}:  CS1 maint: date and year (link)Jennifer Park, Molly Sorkin, Joaquín Sorolla y Bastida, Queen Sofía Spanish Institute (2011). Joaquín Sorolla and the Glory of Spanish Dress: [Published on Occasion of the Exhibition "Joaquín Sorolla and the Glory of Spanish Dress" on view at Queen Sofía Spanish Institute New York, December 8, 2011 - March 10, 2012]. New York NY: Queen Sofía Spanish Institute, ISBN 9780615548180Isabel Justo, Tomás Ferré Facundo, Sofía Barrón Abad. La Visión de España de Joaquín Sorolla. In Miradas sobre España.(Teoría e historia de las artes). Barcelona: Anthropos, 2011, pp. 413–428.Marcus B. Burke: Visión de España. In José Luis Diez, Javier Barón (eds.): Joaquín Sorolla 1863–1923 (2009). Exhibition catalog Museo Nacional del Prado, Madrid, ISBN 978-84-8480-183-2, pp. 424–455.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: How does Vision of Spain explain its Literature?

Haddon, Madeleine (2021). Sorolla: Vision of Spain in the Hispanic Society of America. Madrid: Ediciones El Viso. ISBN 978-84-124439-4-3. OCLC 1302191518.{{cite book}}:  CS1 maint: date and year (link)Jennifer Park, Molly Sorkin, Joaquín Sorolla y Bastida, Queen Sofía Spanish Institute (2011). Joaquín Sorolla and the Glory of Spanish Dress: [Published on Occasion of the Exhibition "Joaquín Sorolla and the Glory of Spanish Dress" on view at Queen Sofía Spanish Institute New York, December 8, 2011 - March 10, 2012]. New York NY: Queen Sofía Spanish Institute, ISBN 9780615548180Isabel Justo, Tomás Ferré Facundo, Sofía Barrón Abad. La Visión de España de Joaquín Sorolla. In Miradas sobre España.(Teoría e historia de las artes). Barcelona: Anthropos, 2011, pp. 413–428.Marcus B. Burke: Visión de España. In José Luis Diez, Javier Barón (eds.): Joaquín Sorolla 1863–1923 (2009). Exhibition catalog Museo Nacional del Prado, Madrid, ISBN 978-84-8480-183-2, pp. 424–455.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


Vision of Spain

Prompt: In Vision of Spain, how is the Literature discussed?

Haddon, Madeleine (2021). Sorolla: Vision of Spain in the Hispanic Society of America. Madrid: Ediciones El Viso. ISBN 978-84-124439-4-3. OCLC 1302191518.{{cite book}}:  CS1 maint: date and year (link)Jennifer Park, Molly Sorkin, Joaquín Sorolla y Bastida, Queen Sofía Spanish Institute (2011). Joaquín Sorolla and the Glory of Spanish Dress: [Published on Occasion of the Exhibition "Joaquín Sorolla and the Glory of Spanish Dress" on view at Queen Sofía Spanish Institute New York, December 8, 2011 - March 10, 2012]. New York NY: Queen Sofía Spanish Institute, ISBN 9780615548180Isabel Justo, Tomás Ferré Facundo, Sofía Barrón Abad. La Visión de España de Joaquín Sorolla. In Miradas sobre España.(Teoría e historia de las artes). Barcelona: Anthropos, 2011, pp. 413–428.Marcus B. Burke: Visión de España. In José Luis Diez, Javier Barón (eds.): Joaquín Sorolla 1863–1923 (2009). Exhibition catalog Museo Nacional del Prado, Madrid, ISBN 978-84-8480-183-2, pp. 424–455.

Archie Huntington
canvas
mural
Sorolla Museum
Spanish National Dance Company
Felipe Garín
YouTube
Aragon
Ruth Matilda Anderson
New York
Guipuzcoa
Canvas
Castile (historical region)
Elche
Museu de Belles Arts de València
Castellón de la Plana
en plein air
Castellón
Galicia (Spain)
Catalonia
Seville
Navarre
Galicia
Andalusia
Teatre del Liceu
Archer Milton Huntington
Extremadura
Alicante
Museum of Fine Arts in Valencia
Teatro Real
Oil painting
Category:1910s paintings
Valencia
Leon
New York City
Oil on canvas
Joaquín Sorolla
Iberian Peninsula
Thyssen-Bornemisza Museum
Hispanic Society of America
Castile
León (province)
Oscar de la Renta
Liceu
Ayamonte
canvases
fashion design
Category:Paintings by Joaquín Sorolla
Gipuzkoa
Queen Sofía Spanish Institute
:es:Felipe Garín Llombart


The Burial of Saint Lucy

Prompt: Focus on The Burial of Saint Lucy and explain the abstract.

Burial of Saint Lucy is a painting by the Italian artist Caravaggio. It is located in the church of Santa Lucia al Sepolcro in Syracuse, Sicily.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: Explain the abstract of this artwork, The Burial of Saint Lucy.

Burial of Saint Lucy is a painting by the Italian artist Caravaggio. It is located in the church of Santa Lucia al Sepolcro in Syracuse, Sicily.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: How does The Burial of Saint Lucy explain its abstract?

Burial of Saint Lucy is a painting by the Italian artist Caravaggio. It is located in the church of Santa Lucia al Sepolcro in Syracuse, Sicily.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: In The Burial of Saint Lucy, how is the abstract discussed?

Burial of Saint Lucy is a painting by the Italian artist Caravaggio. It is located in the church of Santa Lucia al Sepolcro in Syracuse, Sicily.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: Focus on The Burial of Saint Lucy and explain the History.

According to The Golden Legend, Saint Lucy had bestowed her wealth on the poor, in gratitude for the miraculous healing of her mother. Denounced as a Christian by her own suitor who wrongly suspected her of infidelity, she refused to recant, offered her chastity to Christ, and was sentenced to be dragged to a brothel. Miraculously, nothing could move her or displace her from the spot where she stood. She was pierced by a knife in the throat and, where she fell, the church of Santa Lucia al Sepolcro in Syracuse was built.Caravaggio had escaped from prison on Malta in 1608, fleeing to Syracuse. There his Roman companion Mario Minniti helped him get a commission for the present altarpiece. Caravaggio painted it in 1608, for the Franciscan church of Santa Lucia al Sepolcro. The choice of subject was driven by the fact that Saint Lucy was the patron saint of Syracuse and had been interred below the church. The subject was unusual, but especially important to the local authorities, who were eager to reinforce the local cult of Saint Lucy, which had sustained a setback with the theft of her remains during the Middle Ages.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: Explain the History of this artwork, The Burial of Saint Lucy.

According to The Golden Legend, Saint Lucy had bestowed her wealth on the poor, in gratitude for the miraculous healing of her mother. Denounced as a Christian by her own suitor who wrongly suspected her of infidelity, she refused to recant, offered her chastity to Christ, and was sentenced to be dragged to a brothel. Miraculously, nothing could move her or displace her from the spot where she stood. She was pierced by a knife in the throat and, where she fell, the church of Santa Lucia al Sepolcro in Syracuse was built.Caravaggio had escaped from prison on Malta in 1608, fleeing to Syracuse. There his Roman companion Mario Minniti helped him get a commission for the present altarpiece. Caravaggio painted it in 1608, for the Franciscan church of Santa Lucia al Sepolcro. The choice of subject was driven by the fact that Saint Lucy was the patron saint of Syracuse and had been interred below the church. The subject was unusual, but especially important to the local authorities, who were eager to reinforce the local cult of Saint Lucy, which had sustained a setback with the theft of her remains during the Middle Ages.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: How does The Burial of Saint Lucy explain its History?

According to The Golden Legend, Saint Lucy had bestowed her wealth on the poor, in gratitude for the miraculous healing of her mother. Denounced as a Christian by her own suitor who wrongly suspected her of infidelity, she refused to recant, offered her chastity to Christ, and was sentenced to be dragged to a brothel. Miraculously, nothing could move her or displace her from the spot where she stood. She was pierced by a knife in the throat and, where she fell, the church of Santa Lucia al Sepolcro in Syracuse was built.Caravaggio had escaped from prison on Malta in 1608, fleeing to Syracuse. There his Roman companion Mario Minniti helped him get a commission for the present altarpiece. Caravaggio painted it in 1608, for the Franciscan church of Santa Lucia al Sepolcro. The choice of subject was driven by the fact that Saint Lucy was the patron saint of Syracuse and had been interred below the church. The subject was unusual, but especially important to the local authorities, who were eager to reinforce the local cult of Saint Lucy, which had sustained a setback with the theft of her remains during the Middle Ages.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: In The Burial of Saint Lucy, how is the History discussed?

According to The Golden Legend, Saint Lucy had bestowed her wealth on the poor, in gratitude for the miraculous healing of her mother. Denounced as a Christian by her own suitor who wrongly suspected her of infidelity, she refused to recant, offered her chastity to Christ, and was sentenced to be dragged to a brothel. Miraculously, nothing could move her or displace her from the spot where she stood. She was pierced by a knife in the throat and, where she fell, the church of Santa Lucia al Sepolcro in Syracuse was built.Caravaggio had escaped from prison on Malta in 1608, fleeing to Syracuse. There his Roman companion Mario Minniti helped him get a commission for the present altarpiece. Caravaggio painted it in 1608, for the Franciscan church of Santa Lucia al Sepolcro. The choice of subject was driven by the fact that Saint Lucy was the patron saint of Syracuse and had been interred below the church. The subject was unusual, but especially important to the local authorities, who were eager to reinforce the local cult of Saint Lucy, which had sustained a setback with the theft of her remains during the Middle Ages.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: Focus on The Burial of Saint Lucy and explain the Style.

The similarities of the painting with Caravaggio's Resurrection of Lazarus has been pointed out and the scholar Howard Hibbard has spoken of the "powerful emptiness" of the final rendered version of the painting.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: Explain the Style of this artwork, The Burial of Saint Lucy.

The similarities of the painting with Caravaggio's Resurrection of Lazarus has been pointed out and the scholar Howard Hibbard has spoken of the "powerful emptiness" of the final rendered version of the painting.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: How does The Burial of Saint Lucy explain its Style?

The similarities of the painting with Caravaggio's Resurrection of Lazarus has been pointed out and the scholar Howard Hibbard has spoken of the "powerful emptiness" of the final rendered version of the painting.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


The Burial of Saint Lucy

Prompt: In The Burial of Saint Lucy, how is the Style discussed?

The similarities of the painting with Caravaggio's Resurrection of Lazarus has been pointed out and the scholar Howard Hibbard has spoken of the "powerful emptiness" of the final rendered version of the painting.

File:Santa Lucia Alla Badia Church in Syracuse.JPG


Two Old Ones Eating Soup

Prompt: Focus on Two Old Ones Eating Soup and explain the abstract.

Two Old Ones Eating Soup (Spanish: Dos viejos comiendo sopa) or Two Witches (Spanish: Dos Brujas) is one of the fourteen Black Paintings created by Francisco Goya between 1819 and 1823. By this time, Goya was in his mid-70s and deeply disillusioned. He painted the works on the interior walls of the house known as the Quinta del Sordo ("House of the Deaf Man"). They were not intended for public display. Two Old Men Eating Soup likely occupied a position above the main door to the house, between La Leocadia and Two Old Men.Like the other Black Paintings, it was transferred to canvas in 1874–1878 under the supervision of Salvador Martínez Cubells, a curator at the Museo del Prado, Madrid. The owner, Baron Émile d'Erlanger, donated the canvases to the Spanish state in 1881, and they are now on display at the Prado.In the image, two elderly figures loom forward from a black background; although they are assumed to be men, their gender is not readily apparent. The mouth of the left figure is drawn into a grimace, possibly from lack of teeth. In stark contrast to this animated expression, the face of the other figure hardly seems alive at all. Its eyes are black hollows and the head in general bears the aspect of a skull.As in the rest of the Black Paintings, Goya's use of his medium displays an assurance that comes only from a lifetime of experience. Paint is handled freely and rapidly yet with great decisiveness. The palette knife is also used to apply paint in some areas. Blacks, ochres, earth tones and grays are the only colors used, as in the rest of the black paintings.

File:Juan Laurent, Pinturas Negras de Goya, Dos viejos comiendo sopa, año 1874, en la Quinta del Sordo, VN-a-006585 P.jpg

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Group portraits by Spanish artists

The original painting on the wall of the Quinta de Goya, photographed in 1874 by [[Jean Laurent (photographer)


Two Old Ones Eating Soup

Prompt: Explain the abstract of this artwork, Two Old Ones Eating Soup.

Two Old Ones Eating Soup (Spanish: Dos viejos comiendo sopa) or Two Witches (Spanish: Dos Brujas) is one of the fourteen Black Paintings created by Francisco Goya between 1819 and 1823. By this time, Goya was in his mid-70s and deeply disillusioned. He painted the works on the interior walls of the house known as the Quinta del Sordo ("House of the Deaf Man"). They were not intended for public display. Two Old Men Eating Soup likely occupied a position above the main door to the house, between La Leocadia and Two Old Men.Like the other Black Paintings, it was transferred to canvas in 1874–1878 under the supervision of Salvador Martínez Cubells, a curator at the Museo del Prado, Madrid. The owner, Baron Émile d'Erlanger, donated the canvases to the Spanish state in 1881, and they are now on display at the Prado.In the image, two elderly figures loom forward from a black background; although they are assumed to be men, their gender is not readily apparent. The mouth of the left figure is drawn into a grimace, possibly from lack of teeth. In stark contrast to this animated expression, the face of the other figure hardly seems alive at all. Its eyes are black hollows and the head in general bears the aspect of a skull.As in the rest of the Black Paintings, Goya's use of his medium displays an assurance that comes only from a lifetime of experience. Paint is handled freely and rapidly yet with great decisiveness. The palette knife is also used to apply paint in some areas. Blacks, ochres, earth tones and grays are the only colors used, as in the rest of the black paintings.

File:Juan Laurent, Pinturas Negras de Goya, Dos viejos comiendo sopa, año 1874, en la Quinta del Sordo, VN-a-006585 P.jpg

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Group portraits by Spanish artists

The original painting on the wall of the Quinta de Goya, photographed in 1874 by [[Jean Laurent (photographer)


Two Old Ones Eating Soup

Prompt: How does Two Old Ones Eating Soup explain its abstract?

Two Old Ones Eating Soup (Spanish: Dos viejos comiendo sopa) or Two Witches (Spanish: Dos Brujas) is one of the fourteen Black Paintings created by Francisco Goya between 1819 and 1823. By this time, Goya was in his mid-70s and deeply disillusioned. He painted the works on the interior walls of the house known as the Quinta del Sordo ("House of the Deaf Man"). They were not intended for public display. Two Old Men Eating Soup likely occupied a position above the main door to the house, between La Leocadia and Two Old Men.Like the other Black Paintings, it was transferred to canvas in 1874–1878 under the supervision of Salvador Martínez Cubells, a curator at the Museo del Prado, Madrid. The owner, Baron Émile d'Erlanger, donated the canvases to the Spanish state in 1881, and they are now on display at the Prado.In the image, two elderly figures loom forward from a black background; although they are assumed to be men, their gender is not readily apparent. The mouth of the left figure is drawn into a grimace, possibly from lack of teeth. In stark contrast to this animated expression, the face of the other figure hardly seems alive at all. Its eyes are black hollows and the head in general bears the aspect of a skull.As in the rest of the Black Paintings, Goya's use of his medium displays an assurance that comes only from a lifetime of experience. Paint is handled freely and rapidly yet with great decisiveness. The palette knife is also used to apply paint in some areas. Blacks, ochres, earth tones and grays are the only colors used, as in the rest of the black paintings.

File:Juan Laurent, Pinturas Negras de Goya, Dos viejos comiendo sopa, año 1874, en la Quinta del Sordo, VN-a-006585 P.jpg

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Group portraits by Spanish artists

The original painting on the wall of the Quinta de Goya, photographed in 1874 by [[Jean Laurent (photographer)


Two Old Ones Eating Soup

Prompt: In Two Old Ones Eating Soup, how is the abstract discussed?

Two Old Ones Eating Soup (Spanish: Dos viejos comiendo sopa) or Two Witches (Spanish: Dos Brujas) is one of the fourteen Black Paintings created by Francisco Goya between 1819 and 1823. By this time, Goya was in his mid-70s and deeply disillusioned. He painted the works on the interior walls of the house known as the Quinta del Sordo ("House of the Deaf Man"). They were not intended for public display. Two Old Men Eating Soup likely occupied a position above the main door to the house, between La Leocadia and Two Old Men.Like the other Black Paintings, it was transferred to canvas in 1874–1878 under the supervision of Salvador Martínez Cubells, a curator at the Museo del Prado, Madrid. The owner, Baron Émile d'Erlanger, donated the canvases to the Spanish state in 1881, and they are now on display at the Prado.In the image, two elderly figures loom forward from a black background; although they are assumed to be men, their gender is not readily apparent. The mouth of the left figure is drawn into a grimace, possibly from lack of teeth. In stark contrast to this animated expression, the face of the other figure hardly seems alive at all. Its eyes are black hollows and the head in general bears the aspect of a skull.As in the rest of the Black Paintings, Goya's use of his medium displays an assurance that comes only from a lifetime of experience. Paint is handled freely and rapidly yet with great decisiveness. The palette knife is also used to apply paint in some areas. Blacks, ochres, earth tones and grays are the only colors used, as in the rest of the black paintings.

File:Juan Laurent, Pinturas Negras de Goya, Dos viejos comiendo sopa, año 1874, en la Quinta del Sordo, VN-a-006585 P.jpg

Category:Paintings by Francisco Goya in the Museo del Prado

Category:Group portraits by Spanish artists

The original painting on the wall of the Quinta de Goya, photographed in 1874 by [[Jean Laurent (photographer)


Prompt: Focus on Statue of Benjamin Franklin (San Francisco) and explain the abstract.

Benjamin Franklin – also known as the Benjamin Franklin Memorial, Benjamin Franklin Statue and Cogswell Historical Monument – is an outdoor sculpture in Washington Square, San Francisco, California.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: Explain the abstract of this artwork, Statue of Benjamin Franklin (San Francisco).

Benjamin Franklin – also known as the Benjamin Franklin Memorial, Benjamin Franklin Statue and Cogswell Historical Monument – is an outdoor sculpture in Washington Square, San Francisco, California.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: How does Statue of Benjamin Franklin (San Francisco) explain its abstract?

Benjamin Franklin – also known as the Benjamin Franklin Memorial, Benjamin Franklin Statue and Cogswell Historical Monument – is an outdoor sculpture in Washington Square, San Francisco, California.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: In Statue of Benjamin Franklin (San Francisco), how is the abstract discussed?

Benjamin Franklin – also known as the Benjamin Franklin Memorial, Benjamin Franklin Statue and Cogswell Historical Monument – is an outdoor sculpture in Washington Square, San Francisco, California.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: Focus on Statue of Benjamin Franklin (San Francisco) and explain the Description.

The smaller-than-life-size bronze statue of American Founding Father Benjamin Franklin, by an unknown sculptor, stands upon an ornate granite base, that contains a time capsule. There are inscriptions on all four sides of the base. Spigots once dispensed drinking water into three stone basins. The spigots have been removed.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: Explain the Description of this artwork, Statue of Benjamin Franklin (San Francisco).

The smaller-than-life-size bronze statue of American Founding Father Benjamin Franklin, by an unknown sculptor, stands upon an ornate granite base, that contains a time capsule. There are inscriptions on all four sides of the base. Spigots once dispensed drinking water into three stone basins. The spigots have been removed.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: How does Statue of Benjamin Franklin (San Francisco) explain its Description?

The smaller-than-life-size bronze statue of American Founding Father Benjamin Franklin, by an unknown sculptor, stands upon an ornate granite base, that contains a time capsule. There are inscriptions on all four sides of the base. Spigots once dispensed drinking water into three stone basins. The spigots have been removed.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: In Statue of Benjamin Franklin (San Francisco), how is the Description discussed?

The smaller-than-life-size bronze statue of American Founding Father Benjamin Franklin, by an unknown sculptor, stands upon an ornate granite base, that contains a time capsule. There are inscriptions on all four sides of the base. Spigots once dispensed drinking water into three stone basins. The spigots have been removed.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: Focus on Statue of Benjamin Franklin (San Francisco) and explain the History.

Created as a Temperance fountain by crusader Henry D. Cogswell, the monument was originally installed at Kearny and Market Streets in 1879. In 1904, it was relocated to Washington Square.In 1979, 100 years after its creation, a time capsule that was hidden in the statue's base was removed and opened, and contained Cogswell's personal papers. A new time capsule, to be opened in 2079, was installed.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: Explain the History of this artwork, Statue of Benjamin Franklin (San Francisco).

Created as a Temperance fountain by crusader Henry D. Cogswell, the monument was originally installed at Kearny and Market Streets in 1879. In 1904, it was relocated to Washington Square.In 1979, 100 years after its creation, a time capsule that was hidden in the statue's base was removed and opened, and contained Cogswell's personal papers. A new time capsule, to be opened in 2079, was installed.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: How does Statue of Benjamin Franklin (San Francisco) explain its History?

Created as a Temperance fountain by crusader Henry D. Cogswell, the monument was originally installed at Kearny and Market Streets in 1879. In 1904, it was relocated to Washington Square.In 1979, 100 years after its creation, a time capsule that was hidden in the statue's base was removed and opened, and contained Cogswell's personal papers. A new time capsule, to be opened in 2079, was installed.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: In Statue of Benjamin Franklin (San Francisco), how is the History discussed?

Created as a Temperance fountain by crusader Henry D. Cogswell, the monument was originally installed at Kearny and Market Streets in 1879. In 1904, it was relocated to Washington Square.In 1979, 100 years after its creation, a time capsule that was hidden in the statue's base was removed and opened, and contained Cogswell's personal papers. A new time capsule, to be opened in 2079, was installed.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: Focus on Statue of Benjamin Franklin (San Francisco) and explain the In popular culture.

The statue is visible behind Richard Brautigan and Michaela Le Grand on the original cover of Brautigan's 1967 novel Trout Fishing in America.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: Explain the In popular culture of this artwork, Statue of Benjamin Franklin (San Francisco).

The statue is visible behind Richard Brautigan and Michaela Le Grand on the original cover of Brautigan's 1967 novel Trout Fishing in America.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: How does Statue of Benjamin Franklin (San Francisco) explain its In popular culture?

The statue is visible behind Richard Brautigan and Michaela Le Grand on the original cover of Brautigan's 1967 novel Trout Fishing in America.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Prompt: In Statue of Benjamin Franklin (San Francisco), how is the In popular culture discussed?

The statue is visible behind Richard Brautigan and Michaela Le Grand on the original cover of Brautigan's 1967 novel Trout Fishing in America.

Category:1879 establishments in California

Category:Bronze sculptures in California

Category:Granite sculptures in California

Category:Outdoor sculptures in San Francisco

Category:Relocated buildings and structures in California

Category:Sculptures of men in California


Saint George and the Dragon (Rubens)

Prompt: Focus on Saint George and the Dragon (Rubens) and explain the abstract.

Saint George and the Dragon is a painting by Peter Paul Rubens (c. 1605–07), based upon the motif with the same name.It was painted in Genoa (Saint George is the patron of this city) while Rubens was in Italy to complete his artistic training on behalf of his mentor at the time, Otto van Veen. Many scholars speculate the work was originally commissioned for the Church of Sant'Ambrogio, which was dedicated to Saint George. If so, the commissioner never received the masterpiece, due to the artist holding on to his work until he died in 1640, where Felipe IV procured the piece. It is now in the Museo del Prado of Madrid.

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Saint George and the Dragon


Saint George and the Dragon (Rubens)

Prompt: Explain the abstract of this artwork, Saint George and the Dragon (Rubens).

Saint George and the Dragon is a painting by Peter Paul Rubens (c. 1605–07), based upon the motif with the same name.It was painted in Genoa (Saint George is the patron of this city) while Rubens was in Italy to complete his artistic training on behalf of his mentor at the time, Otto van Veen. Many scholars speculate the work was originally commissioned for the Church of Sant'Ambrogio, which was dedicated to Saint George. If so, the commissioner never received the masterpiece, due to the artist holding on to his work until he died in 1640, where Felipe IV procured the piece. It is now in the Museo del Prado of Madrid.

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Saint George and the Dragon


Saint George and the Dragon (Rubens)

Prompt: How does Saint George and the Dragon (Rubens) explain its abstract?

Saint George and the Dragon is a painting by Peter Paul Rubens (c. 1605–07), based upon the motif with the same name.It was painted in Genoa (Saint George is the patron of this city) while Rubens was in Italy to complete his artistic training on behalf of his mentor at the time, Otto van Veen. Many scholars speculate the work was originally commissioned for the Church of Sant'Ambrogio, which was dedicated to Saint George. If so, the commissioner never received the masterpiece, due to the artist holding on to his work until he died in 1640, where Felipe IV procured the piece. It is now in the Museo del Prado of Madrid.

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Saint George and the Dragon


Saint George and the Dragon (Rubens)

Prompt: In Saint George and the Dragon (Rubens), how is the abstract discussed?

Saint George and the Dragon is a painting by Peter Paul Rubens (c. 1605–07), based upon the motif with the same name.It was painted in Genoa (Saint George is the patron of this city) while Rubens was in Italy to complete his artistic training on behalf of his mentor at the time, Otto van Veen. Many scholars speculate the work was originally commissioned for the Church of Sant'Ambrogio, which was dedicated to Saint George. If so, the commissioner never received the masterpiece, due to the artist holding on to his work until he died in 1640, where Felipe IV procured the piece. It is now in the Museo del Prado of Madrid.

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Saint George and the Dragon


Saint George and the Dragon (Rubens)

Prompt: Focus on Saint George and the Dragon (Rubens) and explain the Iconography.

In the painting the princess represents the church as a whole, and the terrified lamb to whom she offers refuge represents the innocence and purity of Jesus Christ, the "Lamb of God", and Saint George and his steed symbolize the triumph of good over evil as Saint George prepares to strike the beast from “on high”. Saint George's right foot prominently highlighted above the dragon signifies that the dragon (darkness, devil, evil) is in every way beneath Saint George and the light that envelops him and the princess. In opposition, the dragon's form resembles a serpent, rather than the typical lizard, or dinosaur-like depiction of dragons, an allusion to the biblical account of Adam and Eve, wherein Satan takes the form of a serpent.

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Saint George and the Dragon


Saint George and the Dragon (Rubens)

Prompt: Explain the Iconography of this artwork, Saint George and the Dragon (Rubens).

In the painting the princess represents the church as a whole, and the terrified lamb to whom she offers refuge represents the innocence and purity of Jesus Christ, the "Lamb of God", and Saint George and his steed symbolize the triumph of good over evil as Saint George prepares to strike the beast from “on high”. Saint George's right foot prominently highlighted above the dragon signifies that the dragon (darkness, devil, evil) is in every way beneath Saint George and the light that envelops him and the princess. In opposition, the dragon's form resembles a serpent, rather than the typical lizard, or dinosaur-like depiction of dragons, an allusion to the biblical account of Adam and Eve, wherein Satan takes the form of a serpent.

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Saint George and the Dragon


Saint George and the Dragon (Rubens)

Prompt: How does Saint George and the Dragon (Rubens) explain its Iconography?

In the painting the princess represents the church as a whole, and the terrified lamb to whom she offers refuge represents the innocence and purity of Jesus Christ, the "Lamb of God", and Saint George and his steed symbolize the triumph of good over evil as Saint George prepares to strike the beast from “on high”. Saint George's right foot prominently highlighted above the dragon signifies that the dragon (darkness, devil, evil) is in every way beneath Saint George and the light that envelops him and the princess. In opposition, the dragon's form resembles a serpent, rather than the typical lizard, or dinosaur-like depiction of dragons, an allusion to the biblical account of Adam and Eve, wherein Satan takes the form of a serpent.

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Saint George and the Dragon


Saint George and the Dragon (Rubens)

Prompt: In Saint George and the Dragon (Rubens), how is the Iconography discussed?

In the painting the princess represents the church as a whole, and the terrified lamb to whom she offers refuge represents the innocence and purity of Jesus Christ, the "Lamb of God", and Saint George and his steed symbolize the triumph of good over evil as Saint George prepares to strike the beast from “on high”. Saint George's right foot prominently highlighted above the dragon signifies that the dragon (darkness, devil, evil) is in every way beneath Saint George and the light that envelops him and the princess. In opposition, the dragon's form resembles a serpent, rather than the typical lizard, or dinosaur-like depiction of dragons, an allusion to the biblical account of Adam and Eve, wherein Satan takes the form of a serpent.

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Saint George and the Dragon


Adoration of the Shepherds (Mantegna)

Prompt: Focus on Adoration of the Shepherds (Mantegna) and explain the abstract.

The Adoration of the Shepherds is a painting by the northern Italian Renaissance artist Andrea Mantegna, dated to c. 1450-1451.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: Explain the abstract of this artwork, Adoration of the Shepherds (Mantegna).

The Adoration of the Shepherds is a painting by the northern Italian Renaissance artist Andrea Mantegna, dated to c. 1450-1451.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: How does Adoration of the Shepherds (Mantegna) explain its abstract?

The Adoration of the Shepherds is a painting by the northern Italian Renaissance artist Andrea Mantegna, dated to c. 1450-1451.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: In Adoration of the Shepherds (Mantegna), how is the abstract discussed?

The Adoration of the Shepherds is a painting by the northern Italian Renaissance artist Andrea Mantegna, dated to c. 1450-1451.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: Focus on Adoration of the Shepherds (Mantegna) and explain the History.

This small painting is generally attributed to Mantegna's youth. It was likely commissioned by Borso d'Este during the artist's stay in Ferrara in 1450–1451.The work, originally on panel, was subsequently moved to canvas at an unknown date, losing a small section on the far right. It is perhaps mentioned in a 1586 inventory of Margherita Gonzaga d'Este's possessions as a "Prosepio de Andrea Mantegna" ("Nativity Scene of Andrea Mantegna"). By 1603 it was owned by Cardinal Pietro Aldobrandini, who kept it in the Villa Aldobrandini, and then it passed to his descendants. Later it was inherited by the Pamphilj, and then by the Borghese. In 1792 it was sold to the painter-dealer Alexander Day, who took it to London. William Buchanan sold it to Richard Payne Knight at Downton Castle, Herefordshire; his eventual heirs sold it to Joseph Duveen. In 1925 it was acquired from Duveen, New York, by Clarence Mackay; it was purchased for the Metropolitan Museum of Art by an anonymous donor.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art


Adoration of the Shepherds (Mantegna)

Prompt: Explain the History of this artwork, Adoration of the Shepherds (Mantegna).

This small painting is generally attributed to Mantegna's youth. It was likely commissioned by Borso d'Este during the artist's stay in Ferrara in 1450–1451.The work, originally on panel, was subsequently moved to canvas at an unknown date, losing a small section on the far right. It is perhaps mentioned in a 1586 inventory of Margherita Gonzaga d'Este's possessions as a "Prosepio de Andrea Mantegna" ("Nativity Scene of Andrea Mantegna"). By 1603 it was owned by Cardinal Pietro Aldobrandini, who kept it in the Villa Aldobrandini, and then it passed to his descendants. Later it was inherited by the Pamphilj, and then by the Borghese. In 1792 it was sold to the painter-dealer Alexander Day, who took it to London. William Buchanan sold it to Richard Payne Knight at Downton Castle, Herefordshire; his eventual heirs sold it to Joseph Duveen. In 1925 it was acquired from Duveen, New York, by Clarence Mackay; it was purchased for the Metropolitan Museum of Art by an anonymous donor.

Category:Paintings in the Metropolitan Museum of Art

Category:Adoration of the Shepherds in art