Prompt: In the context of Entry of Christ into Jerusalem (Master of Taüll), explain the Location history and the Historical information.

The remoteness of Berlanga de Duero and inaccessibility of its church helped the frescoes survive for centuries, protecting them from everything but the weather. In 1927, the villagers of Berlanga sold the frescoes that had not been destroyed to an art dealer named Leon Levi. They were then dispersed to museums around the world, including the Boston Museum of Fine Arts, the Metropolitan Museum of Art, the Cincinnati Art Museum, and the Prado Museum.

Category:Fresco paintings in the United States

Category:Paintings in the Indianapolis Museum of Art

Category:Paintings of the Passion of Jesus


Prompt: Explain the Location history about the Historical information of this artwork, Entry of Christ into Jerusalem (Master of Taüll).

The remoteness of Berlanga de Duero and inaccessibility of its church helped the frescoes survive for centuries, protecting them from everything but the weather. In 1927, the villagers of Berlanga sold the frescoes that had not been destroyed to an art dealer named Leon Levi. They were then dispersed to museums around the world, including the Boston Museum of Fine Arts, the Metropolitan Museum of Art, the Cincinnati Art Museum, and the Prado Museum.

Category:Fresco paintings in the United States

Category:Paintings in the Indianapolis Museum of Art

Category:Paintings of the Passion of Jesus


Prompt: In Entry of Christ into Jerusalem (Master of Taüll), how is the Location history of the Historical information explained?

The remoteness of Berlanga de Duero and inaccessibility of its church helped the frescoes survive for centuries, protecting them from everything but the weather. In 1927, the villagers of Berlanga sold the frescoes that had not been destroyed to an art dealer named Leon Levi. They were then dispersed to museums around the world, including the Boston Museum of Fine Arts, the Metropolitan Museum of Art, the Cincinnati Art Museum, and the Prado Museum.

Category:Fresco paintings in the United States

Category:Paintings in the Indianapolis Museum of Art

Category:Paintings of the Passion of Jesus


Prompt: Describe the characteristics of the Location history in Entry of Christ into Jerusalem (Master of Taüll)'s Historical information.

The remoteness of Berlanga de Duero and inaccessibility of its church helped the frescoes survive for centuries, protecting them from everything but the weather. In 1927, the villagers of Berlanga sold the frescoes that had not been destroyed to an art dealer named Leon Levi. They were then dispersed to museums around the world, including the Boston Museum of Fine Arts, the Metropolitan Museum of Art, the Cincinnati Art Museum, and the Prado Museum.

Category:Fresco paintings in the United States

Category:Paintings in the Indianapolis Museum of Art

Category:Paintings of the Passion of Jesus


Prompt: In the context of Entry of Christ into Jerusalem (Master of Taüll), explain the Acquisition and the Historical information.

The IMA acquired Entry of Christ into Jerusalem in 1957 as a gift of G. H. A. Clowes and Elijah B. Martindale. It was given the accession number 57.151 and hangs in the Irving M. Fauvre Gallery by its sister fresco, Marriage at Cana.

Category:Fresco paintings in the United States

Category:Paintings in the Indianapolis Museum of Art

Category:Paintings of the Passion of Jesus


Prompt: Explain the Acquisition about the Historical information of this artwork, Entry of Christ into Jerusalem (Master of Taüll).

The IMA acquired Entry of Christ into Jerusalem in 1957 as a gift of G. H. A. Clowes and Elijah B. Martindale. It was given the accession number 57.151 and hangs in the Irving M. Fauvre Gallery by its sister fresco, Marriage at Cana.

Category:Fresco paintings in the United States

Category:Paintings in the Indianapolis Museum of Art

Category:Paintings of the Passion of Jesus


Prompt: In Entry of Christ into Jerusalem (Master of Taüll), how is the Acquisition of the Historical information explained?

The IMA acquired Entry of Christ into Jerusalem in 1957 as a gift of G. H. A. Clowes and Elijah B. Martindale. It was given the accession number 57.151 and hangs in the Irving M. Fauvre Gallery by its sister fresco, Marriage at Cana.

Category:Fresco paintings in the United States

Category:Paintings in the Indianapolis Museum of Art

Category:Paintings of the Passion of Jesus


Prompt: Describe the characteristics of the Acquisition in Entry of Christ into Jerusalem (Master of Taüll)'s Historical information.

The IMA acquired Entry of Christ into Jerusalem in 1957 as a gift of G. H. A. Clowes and Elijah B. Martindale. It was given the accession number 57.151 and hangs in the Irving M. Fauvre Gallery by its sister fresco, Marriage at Cana.

Category:Fresco paintings in the United States

Category:Paintings in the Indianapolis Museum of Art

Category:Paintings of the Passion of Jesus


Statue of Jizō (Intan)

Prompt: Focus on Statue of Jizō (Intan) and explain the abstract.

The Statue of Jizō, or Josefowitz Jizō is a late 13th century wooden Kamakura period Buddhist Sculpture of the bodhisattva Kṣitigarbha. It was originally created for worship in Kōfuku-ji, Nara before being sold, entering the private collection of Samuel Josefowitz. It has seen exhibition as a loan by Josefowitz to the Metropolitan Museum of Art since 2012, to which the museum acquired full ownership after being sold at auction at Christie's in 2023.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: Explain the abstract of this artwork, Statue of Jizō (Intan).

The Statue of Jizō, or Josefowitz Jizō is a late 13th century wooden Kamakura period Buddhist Sculpture of the bodhisattva Kṣitigarbha. It was originally created for worship in Kōfuku-ji, Nara before being sold, entering the private collection of Samuel Josefowitz. It has seen exhibition as a loan by Josefowitz to the Metropolitan Museum of Art since 2012, to which the museum acquired full ownership after being sold at auction at Christie's in 2023.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: How does Statue of Jizō (Intan) explain its abstract?

The Statue of Jizō, or Josefowitz Jizō is a late 13th century wooden Kamakura period Buddhist Sculpture of the bodhisattva Kṣitigarbha. It was originally created for worship in Kōfuku-ji, Nara before being sold, entering the private collection of Samuel Josefowitz. It has seen exhibition as a loan by Josefowitz to the Metropolitan Museum of Art since 2012, to which the museum acquired full ownership after being sold at auction at Christie's in 2023.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: In Statue of Jizō (Intan), how is the abstract discussed?

The Statue of Jizō, or Josefowitz Jizō is a late 13th century wooden Kamakura period Buddhist Sculpture of the bodhisattva Kṣitigarbha. It was originally created for worship in Kōfuku-ji, Nara before being sold, entering the private collection of Samuel Josefowitz. It has seen exhibition as a loan by Josefowitz to the Metropolitan Museum of Art since 2012, to which the museum acquired full ownership after being sold at auction at Christie's in 2023.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: Focus on Statue of Jizō (Intan) and explain the Provenance.

Kōfuku-ji during the Kamakura period saw a surge in restoration work in the years following the Siege of Nara during the Genpei War. Multiple schools (studios) emerged as new sculptures were commissioned. Prominent examples include the Kei school (慶派), the En (Enpa) school (円派), and the In (Inpa) school (院派). The Inpa were primarily based in Kyoto with close ties to Imperial Household but were active in Nara as well, and are credited towards the restoration of the Daibutsuden at Todai-ji, as well as construction of Sanjūsangen-dō.The Jizō was sculpted by Inpa sculptor Intan (院湛), whose only known for two other sculptures: a seated Jizō at Joki-in in Mount Kōya, and a Kannon statue at Akishino-dera.The foot of the statue, carries the signature of the sculptor, in addition to the date of the 24th day, the 9th month, and 4th year of the Shōō era (1291).In 1906, the sculptures of Kōfuku-ji were sold by temple to raise funds, ultimately a result of decline during the Meiji period policy of shinbutsu bunri and haibutsu kishaku. Many of the statues were acquired by industrialist Masuda Takashi, who also acquired the Burke Jizō (also in the MET).In 1938, the sculpture was sold to auction house Setsu Gatōdō in Tokyo whereupon during a visit to Japan on 8 January 1962, Concert Hall Society founder and art collector Samuel Josefowitz purchased the sculpture.Initially on long term loan to the Metropolitan Museum of Art from 2012-2022, on 13 October 2023, Josefowitz's collection was put on auction at Christie's in London. For an initial estimate of 2-4 million GBP, it was sold to the MET's permanent collection for 3.67 million GBP (4.57 million USD). It is now catalogued under accession number 2023.640a–c.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: Explain the Provenance of this artwork, Statue of Jizō (Intan).

Kōfuku-ji during the Kamakura period saw a surge in restoration work in the years following the Siege of Nara during the Genpei War. Multiple schools (studios) emerged as new sculptures were commissioned. Prominent examples include the Kei school (慶派), the En (Enpa) school (円派), and the In (Inpa) school (院派). The Inpa were primarily based in Kyoto with close ties to Imperial Household but were active in Nara as well, and are credited towards the restoration of the Daibutsuden at Todai-ji, as well as construction of Sanjūsangen-dō.The Jizō was sculpted by Inpa sculptor Intan (院湛), whose only known for two other sculptures: a seated Jizō at Joki-in in Mount Kōya, and a Kannon statue at Akishino-dera.The foot of the statue, carries the signature of the sculptor, in addition to the date of the 24th day, the 9th month, and 4th year of the Shōō era (1291).In 1906, the sculptures of Kōfuku-ji were sold by temple to raise funds, ultimately a result of decline during the Meiji period policy of shinbutsu bunri and haibutsu kishaku. Many of the statues were acquired by industrialist Masuda Takashi, who also acquired the Burke Jizō (also in the MET).In 1938, the sculpture was sold to auction house Setsu Gatōdō in Tokyo whereupon during a visit to Japan on 8 January 1962, Concert Hall Society founder and art collector Samuel Josefowitz purchased the sculpture.Initially on long term loan to the Metropolitan Museum of Art from 2012-2022, on 13 October 2023, Josefowitz's collection was put on auction at Christie's in London. For an initial estimate of 2-4 million GBP, it was sold to the MET's permanent collection for 3.67 million GBP (4.57 million USD). It is now catalogued under accession number 2023.640a–c.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: How does Statue of Jizō (Intan) explain its Provenance?

Kōfuku-ji during the Kamakura period saw a surge in restoration work in the years following the Siege of Nara during the Genpei War. Multiple schools (studios) emerged as new sculptures were commissioned. Prominent examples include the Kei school (慶派), the En (Enpa) school (円派), and the In (Inpa) school (院派). The Inpa were primarily based in Kyoto with close ties to Imperial Household but were active in Nara as well, and are credited towards the restoration of the Daibutsuden at Todai-ji, as well as construction of Sanjūsangen-dō.The Jizō was sculpted by Inpa sculptor Intan (院湛), whose only known for two other sculptures: a seated Jizō at Joki-in in Mount Kōya, and a Kannon statue at Akishino-dera.The foot of the statue, carries the signature of the sculptor, in addition to the date of the 24th day, the 9th month, and 4th year of the Shōō era (1291).In 1906, the sculptures of Kōfuku-ji were sold by temple to raise funds, ultimately a result of decline during the Meiji period policy of shinbutsu bunri and haibutsu kishaku. Many of the statues were acquired by industrialist Masuda Takashi, who also acquired the Burke Jizō (also in the MET).In 1938, the sculpture was sold to auction house Setsu Gatōdō in Tokyo whereupon during a visit to Japan on 8 January 1962, Concert Hall Society founder and art collector Samuel Josefowitz purchased the sculpture.Initially on long term loan to the Metropolitan Museum of Art from 2012-2022, on 13 October 2023, Josefowitz's collection was put on auction at Christie's in London. For an initial estimate of 2-4 million GBP, it was sold to the MET's permanent collection for 3.67 million GBP (4.57 million USD). It is now catalogued under accession number 2023.640a–c.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: In Statue of Jizō (Intan), how is the Provenance discussed?

Kōfuku-ji during the Kamakura period saw a surge in restoration work in the years following the Siege of Nara during the Genpei War. Multiple schools (studios) emerged as new sculptures were commissioned. Prominent examples include the Kei school (慶派), the En (Enpa) school (円派), and the In (Inpa) school (院派). The Inpa were primarily based in Kyoto with close ties to Imperial Household but were active in Nara as well, and are credited towards the restoration of the Daibutsuden at Todai-ji, as well as construction of Sanjūsangen-dō.The Jizō was sculpted by Inpa sculptor Intan (院湛), whose only known for two other sculptures: a seated Jizō at Joki-in in Mount Kōya, and a Kannon statue at Akishino-dera.The foot of the statue, carries the signature of the sculptor, in addition to the date of the 24th day, the 9th month, and 4th year of the Shōō era (1291).In 1906, the sculptures of Kōfuku-ji were sold by temple to raise funds, ultimately a result of decline during the Meiji period policy of shinbutsu bunri and haibutsu kishaku. Many of the statues were acquired by industrialist Masuda Takashi, who also acquired the Burke Jizō (also in the MET).In 1938, the sculpture was sold to auction house Setsu Gatōdō in Tokyo whereupon during a visit to Japan on 8 January 1962, Concert Hall Society founder and art collector Samuel Josefowitz purchased the sculpture.Initially on long term loan to the Metropolitan Museum of Art from 2012-2022, on 13 October 2023, Josefowitz's collection was put on auction at Christie's in London. For an initial estimate of 2-4 million GBP, it was sold to the MET's permanent collection for 3.67 million GBP (4.57 million USD). It is now catalogued under accession number 2023.640a–c.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: Focus on Statue of Jizō (Intan) and explain the Description.

The Jizō is constructed of hinoki, assembled in multiple joining blocks, or yosegi zukuri. The interior is hollow, which allows for the insertion of rock crystal eyes. He is depicted as youthful and innocent, head shaved, and long earlobes symbolizing enlightenment, wearing a kasaya, decorated with kirikane and partial polychromy, yielding a khakkhara. The left hand yields a jewel of wisdom, which grants wishes.Inpa style of sculptures tend to utilize elegant, gentle features, as shown with the flow of the robes as well as soft expressions, which was in line of the preferred style of the Heian court. And as such the sculpture was made in a time where welcoming deities became popular at the end of the 13th century, to which Jizō became a popular bodhisattva to worship.At the foot of the statue, in the connecting joint to the lotus pedestal, a written description on the joint has the signature, the date of the sculptor, as well as the commissioning monks "Kyōganbō Daisōzu Rin'ei" and "Jitsu’ei Enshunbō".Intan's name written as "院湛" utilizes the nomenclature of the Inpa school, as well as that of the sculptor Tankei (湛慶), son of Unkei of the Kei school, which indicates that Intan wanted to name himself as a user of both Inpa and Keiha styles.In a press release by the MET, the Jizō was hailed as a richly documented piece that strengthens the museum's holdings of Japanese art.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: Explain the Description of this artwork, Statue of Jizō (Intan).

The Jizō is constructed of hinoki, assembled in multiple joining blocks, or yosegi zukuri. The interior is hollow, which allows for the insertion of rock crystal eyes. He is depicted as youthful and innocent, head shaved, and long earlobes symbolizing enlightenment, wearing a kasaya, decorated with kirikane and partial polychromy, yielding a khakkhara. The left hand yields a jewel of wisdom, which grants wishes.Inpa style of sculptures tend to utilize elegant, gentle features, as shown with the flow of the robes as well as soft expressions, which was in line of the preferred style of the Heian court. And as such the sculpture was made in a time where welcoming deities became popular at the end of the 13th century, to which Jizō became a popular bodhisattva to worship.At the foot of the statue, in the connecting joint to the lotus pedestal, a written description on the joint has the signature, the date of the sculptor, as well as the commissioning monks "Kyōganbō Daisōzu Rin'ei" and "Jitsu’ei Enshunbō".Intan's name written as "院湛" utilizes the nomenclature of the Inpa school, as well as that of the sculptor Tankei (湛慶), son of Unkei of the Kei school, which indicates that Intan wanted to name himself as a user of both Inpa and Keiha styles.In a press release by the MET, the Jizō was hailed as a richly documented piece that strengthens the museum's holdings of Japanese art.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: How does Statue of Jizō (Intan) explain its Description?

The Jizō is constructed of hinoki, assembled in multiple joining blocks, or yosegi zukuri. The interior is hollow, which allows for the insertion of rock crystal eyes. He is depicted as youthful and innocent, head shaved, and long earlobes symbolizing enlightenment, wearing a kasaya, decorated with kirikane and partial polychromy, yielding a khakkhara. The left hand yields a jewel of wisdom, which grants wishes.Inpa style of sculptures tend to utilize elegant, gentle features, as shown with the flow of the robes as well as soft expressions, which was in line of the preferred style of the Heian court. And as such the sculpture was made in a time where welcoming deities became popular at the end of the 13th century, to which Jizō became a popular bodhisattva to worship.At the foot of the statue, in the connecting joint to the lotus pedestal, a written description on the joint has the signature, the date of the sculptor, as well as the commissioning monks "Kyōganbō Daisōzu Rin'ei" and "Jitsu’ei Enshunbō".Intan's name written as "院湛" utilizes the nomenclature of the Inpa school, as well as that of the sculptor Tankei (湛慶), son of Unkei of the Kei school, which indicates that Intan wanted to name himself as a user of both Inpa and Keiha styles.In a press release by the MET, the Jizō was hailed as a richly documented piece that strengthens the museum's holdings of Japanese art.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Statue of Jizō (Intan)

Prompt: In Statue of Jizō (Intan), how is the Description discussed?

The Jizō is constructed of hinoki, assembled in multiple joining blocks, or yosegi zukuri. The interior is hollow, which allows for the insertion of rock crystal eyes. He is depicted as youthful and innocent, head shaved, and long earlobes symbolizing enlightenment, wearing a kasaya, decorated with kirikane and partial polychromy, yielding a khakkhara. The left hand yields a jewel of wisdom, which grants wishes.Inpa style of sculptures tend to utilize elegant, gentle features, as shown with the flow of the robes as well as soft expressions, which was in line of the preferred style of the Heian court. And as such the sculpture was made in a time where welcoming deities became popular at the end of the 13th century, to which Jizō became a popular bodhisattva to worship.At the foot of the statue, in the connecting joint to the lotus pedestal, a written description on the joint has the signature, the date of the sculptor, as well as the commissioning monks "Kyōganbō Daisōzu Rin'ei" and "Jitsu’ei Enshunbō".Intan's name written as "院湛" utilizes the nomenclature of the Inpa school, as well as that of the sculptor Tankei (湛慶), son of Unkei of the Kei school, which indicates that Intan wanted to name himself as a user of both Inpa and Keiha styles.In a press release by the MET, the Jizō was hailed as a richly documented piece that strengthens the museum's holdings of Japanese art.

File:地蔵菩薩立像-Jizō Bosatsu MET DT352187.jpg

File:1901, Kofukuji Temple, group record of damaged Buddha statues, old photograph.jpg

Signature of the artist at the foot joint.

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Inspiration (sculpture)

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

Inspiration is a public artwork by American artist Ethan Kerber, located at a commercial building at the intersection of 5th St NW & K St NW in the Mount Vernon Triangle neighborhood of Washington, D.C., United States. Inspiration was created through DC Commission on the Arts and Humanities.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

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

Inspiration is a public artwork by American artist Ethan Kerber, located at a commercial building at the intersection of 5th St NW & K St NW in the Mount Vernon Triangle neighborhood of Washington, D.C., United States. Inspiration was created through DC Commission on the Arts and Humanities.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

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

Inspiration is a public artwork by American artist Ethan Kerber, located at a commercial building at the intersection of 5th St NW & K St NW in the Mount Vernon Triangle neighborhood of Washington, D.C., United States. Inspiration was created through DC Commission on the Arts and Humanities.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

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

Inspiration is a public artwork by American artist Ethan Kerber, located at a commercial building at the intersection of 5th St NW & K St NW in the Mount Vernon Triangle neighborhood of Washington, D.C., United States. Inspiration was created through DC Commission on the Arts and Humanities.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

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

This metal sculpture is placed on an air intake vent on the facade of the CityVista building just north of Busboys and Poets. At 25 feet by 25 feet; it consists of five panels which are made up of 80 custom CNC plasma cut metal sheets. It weighs about 3,500 pounds. Painted in shades of blue, the design represents exhaled breath on a cold day.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

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

This metal sculpture is placed on an air intake vent on the facade of the CityVista building just north of Busboys and Poets. At 25 feet by 25 feet; it consists of five panels which are made up of 80 custom CNC plasma cut metal sheets. It weighs about 3,500 pounds. Painted in shades of blue, the design represents exhaled breath on a cold day.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: How does Inspiration (sculpture) explain its Description?

This metal sculpture is placed on an air intake vent on the facade of the CityVista building just north of Busboys and Poets. At 25 feet by 25 feet; it consists of five panels which are made up of 80 custom CNC plasma cut metal sheets. It weighs about 3,500 pounds. Painted in shades of blue, the design represents exhaled breath on a cold day.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: In Inspiration (sculpture), how is the Description discussed?

This metal sculpture is placed on an air intake vent on the facade of the CityVista building just north of Busboys and Poets. At 25 feet by 25 feet; it consists of five panels which are made up of 80 custom CNC plasma cut metal sheets. It weighs about 3,500 pounds. Painted in shades of blue, the design represents exhaled breath on a cold day.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: Focus on Inspiration (sculpture) and explain the Artist.

A Masters student at San Francisco State University, Ethan Kerber was raised in New York City. Working primarily with metal his work is inspired by the street art that he saw throughout the city as a youth. Kerber describes his art as "a reflection in metal of the urban environment around us." His work is seen also at the Oakland Zoo. He works under the name Midnight Metal Works Inc.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: Explain the Artist of this artwork, Inspiration (sculpture).

A Masters student at San Francisco State University, Ethan Kerber was raised in New York City. Working primarily with metal his work is inspired by the street art that he saw throughout the city as a youth. Kerber describes his art as "a reflection in metal of the urban environment around us." His work is seen also at the Oakland Zoo. He works under the name Midnight Metal Works Inc.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: How does Inspiration (sculpture) explain its Artist?

A Masters student at San Francisco State University, Ethan Kerber was raised in New York City. Working primarily with metal his work is inspired by the street art that he saw throughout the city as a youth. Kerber describes his art as "a reflection in metal of the urban environment around us." His work is seen also at the Oakland Zoo. He works under the name Midnight Metal Works Inc.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: In Inspiration (sculpture), how is the Artist discussed?

A Masters student at San Francisco State University, Ethan Kerber was raised in New York City. Working primarily with metal his work is inspired by the street art that he saw throughout the city as a youth. Kerber describes his art as "a reflection in metal of the urban environment around us." His work is seen also at the Oakland Zoo. He works under the name Midnight Metal Works Inc.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: Focus on Inspiration (sculpture) and explain the Acquisition.

In 2009 the DC Commission on the Arts & Humanities, DC Office of Planning, CityVista and the Mount Vernon Triangle Community Improvement District selected Kerber to create a "dynamic" installation for an exterior wall at CityVista.  The sculpture was installed on March 1, 2010.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: Explain the Acquisition of this artwork, Inspiration (sculpture).

In 2009 the DC Commission on the Arts & Humanities, DC Office of Planning, CityVista and the Mount Vernon Triangle Community Improvement District selected Kerber to create a "dynamic" installation for an exterior wall at CityVista.  The sculpture was installed on March 1, 2010.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: How does Inspiration (sculpture) explain its Acquisition?

In 2009 the DC Commission on the Arts & Humanities, DC Office of Planning, CityVista and the Mount Vernon Triangle Community Improvement District selected Kerber to create a "dynamic" installation for an exterior wall at CityVista.  The sculpture was installed on March 1, 2010.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: In Inspiration (sculpture), how is the Acquisition discussed?

In 2009 the DC Commission on the Arts & Humanities, DC Office of Planning, CityVista and the Mount Vernon Triangle Community Improvement District selected Kerber to create a "dynamic" installation for an exterior wall at CityVista.  The sculpture was installed on March 1, 2010.

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: Focus on Inspiration (sculpture) and explain the Information.

Inspiration was created using three-dimensional modeling software. Kerber worked closely with architects and engineers to use digital design to create an efficient and creative work. The final image was programmed into a plasma cutter which precisely cut the image. According to Kerber, the title "Inspiration" refers to "the source of creativity as well as the functional role in relation to the building's system of breathing."

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: Explain the Information of this artwork, Inspiration (sculpture).

Inspiration was created using three-dimensional modeling software. Kerber worked closely with architects and engineers to use digital design to create an efficient and creative work. The final image was programmed into a plasma cutter which precisely cut the image. According to Kerber, the title "Inspiration" refers to "the source of creativity as well as the functional role in relation to the building's system of breathing."

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: How does Inspiration (sculpture) explain its Information?

Inspiration was created using three-dimensional modeling software. Kerber worked closely with architects and engineers to use digital design to create an efficient and creative work. The final image was programmed into a plasma cutter which precisely cut the image. According to Kerber, the title "Inspiration" refers to "the source of creativity as well as the functional role in relation to the building's system of breathing."

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


Inspiration (sculpture)

Prompt: In Inspiration (sculpture), how is the Information discussed?

Inspiration was created using three-dimensional modeling software. Kerber worked closely with architects and engineers to use digital design to create an efficient and creative work. The final image was programmed into a plasma cutter which precisely cut the image. According to Kerber, the title "Inspiration" refers to "the source of creativity as well as the functional role in relation to the building's system of breathing."

Category:Steel sculptures in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.


The Fall of Man (Poulakis)

Prompt: Focus on The Fall of Man (Poulakis) and explain the abstract.

The Fall of Man is a tempera painting by Theodore Poulakis.  Poulakis was a Greek Baroque artist.  He was a painter and teacher.  He flourished during the Late Cretan School and the Heptanese School.  He is often regarded as the father of the Heptanese School.  His painting career was from 1635 to 1692.  He was living in Venice at the age of 24.  He mastered painting while he lived in the city.  He was involved in the quarantia.  He traveled all over the Ionian Islands and eventually settled on the island of Corfu.  He also frequently returned to Venice.  Over 130 of his paintings have survived.  They can be found in Greece and Italy.Adam and Eve have been depicted in Greek Italian art since the dawn of the new Christian religion.  Countless painters adopted the subject matter.  In the 16th century, a French goldsmith and engraver named Étienne Delaune created a series of old testament engravings.  His work circulated Europe and in the 17th-century Venetian engraver and printer Stefano Scolari (1640 - 1691) replicated his work.  The prints circulated throughout the Venetian world.  Poulaki integrated Delaune's work in his paintings.    One specific example was Poulaki's In Thee Rejoiceth .  The artist used some of Delaune's engravings as inspiration for the masterpiece specifically in the upper portion.  The Fall of Man is not an identical replica of an engraving by Delaune but it was inspired by his work.  The work later inspired a similar painting by Greek painter Konstantinos Kontarinis.  The Fall of Man is part of the Collection of Dimitris Kontominas in Athens, Greece.  The painting was formerly part of the collection of Count Cesare Cicogna Mozzoni and Countess Annamaria Volpi di Misurata in Venice.

Category:Paintings of the Heptanese school


The Fall of Man (Poulakis)

Prompt: Explain the abstract of this artwork, The Fall of Man (Poulakis).

The Fall of Man is a tempera painting by Theodore Poulakis.  Poulakis was a Greek Baroque artist.  He was a painter and teacher.  He flourished during the Late Cretan School and the Heptanese School.  He is often regarded as the father of the Heptanese School.  His painting career was from 1635 to 1692.  He was living in Venice at the age of 24.  He mastered painting while he lived in the city.  He was involved in the quarantia.  He traveled all over the Ionian Islands and eventually settled on the island of Corfu.  He also frequently returned to Venice.  Over 130 of his paintings have survived.  They can be found in Greece and Italy.Adam and Eve have been depicted in Greek Italian art since the dawn of the new Christian religion.  Countless painters adopted the subject matter.  In the 16th century, a French goldsmith and engraver named Étienne Delaune created a series of old testament engravings.  His work circulated Europe and in the 17th-century Venetian engraver and printer Stefano Scolari (1640 - 1691) replicated his work.  The prints circulated throughout the Venetian world.  Poulaki integrated Delaune's work in his paintings.    One specific example was Poulaki's In Thee Rejoiceth .  The artist used some of Delaune's engravings as inspiration for the masterpiece specifically in the upper portion.  The Fall of Man is not an identical replica of an engraving by Delaune but it was inspired by his work.  The work later inspired a similar painting by Greek painter Konstantinos Kontarinis.  The Fall of Man is part of the Collection of Dimitris Kontominas in Athens, Greece.  The painting was formerly part of the collection of Count Cesare Cicogna Mozzoni and Countess Annamaria Volpi di Misurata in Venice.

Category:Paintings of the Heptanese school


The Fall of Man (Poulakis)

Prompt: How does The Fall of Man (Poulakis) explain its abstract?

The Fall of Man is a tempera painting by Theodore Poulakis.  Poulakis was a Greek Baroque artist.  He was a painter and teacher.  He flourished during the Late Cretan School and the Heptanese School.  He is often regarded as the father of the Heptanese School.  His painting career was from 1635 to 1692.  He was living in Venice at the age of 24.  He mastered painting while he lived in the city.  He was involved in the quarantia.  He traveled all over the Ionian Islands and eventually settled on the island of Corfu.  He also frequently returned to Venice.  Over 130 of his paintings have survived.  They can be found in Greece and Italy.Adam and Eve have been depicted in Greek Italian art since the dawn of the new Christian religion.  Countless painters adopted the subject matter.  In the 16th century, a French goldsmith and engraver named Étienne Delaune created a series of old testament engravings.  His work circulated Europe and in the 17th-century Venetian engraver and printer Stefano Scolari (1640 - 1691) replicated his work.  The prints circulated throughout the Venetian world.  Poulaki integrated Delaune's work in his paintings.    One specific example was Poulaki's In Thee Rejoiceth .  The artist used some of Delaune's engravings as inspiration for the masterpiece specifically in the upper portion.  The Fall of Man is not an identical replica of an engraving by Delaune but it was inspired by his work.  The work later inspired a similar painting by Greek painter Konstantinos Kontarinis.  The Fall of Man is part of the Collection of Dimitris Kontominas in Athens, Greece.  The painting was formerly part of the collection of Count Cesare Cicogna Mozzoni and Countess Annamaria Volpi di Misurata in Venice.

Category:Paintings of the Heptanese school


The Fall of Man (Poulakis)

Prompt: In The Fall of Man (Poulakis), how is the abstract discussed?

The Fall of Man is a tempera painting by Theodore Poulakis.  Poulakis was a Greek Baroque artist.  He was a painter and teacher.  He flourished during the Late Cretan School and the Heptanese School.  He is often regarded as the father of the Heptanese School.  His painting career was from 1635 to 1692.  He was living in Venice at the age of 24.  He mastered painting while he lived in the city.  He was involved in the quarantia.  He traveled all over the Ionian Islands and eventually settled on the island of Corfu.  He also frequently returned to Venice.  Over 130 of his paintings have survived.  They can be found in Greece and Italy.Adam and Eve have been depicted in Greek Italian art since the dawn of the new Christian religion.  Countless painters adopted the subject matter.  In the 16th century, a French goldsmith and engraver named Étienne Delaune created a series of old testament engravings.  His work circulated Europe and in the 17th-century Venetian engraver and printer Stefano Scolari (1640 - 1691) replicated his work.  The prints circulated throughout the Venetian world.  Poulaki integrated Delaune's work in his paintings.    One specific example was Poulaki's In Thee Rejoiceth .  The artist used some of Delaune's engravings as inspiration for the masterpiece specifically in the upper portion.  The Fall of Man is not an identical replica of an engraving by Delaune but it was inspired by his work.  The work later inspired a similar painting by Greek painter Konstantinos Kontarinis.  The Fall of Man is part of the Collection of Dimitris Kontominas in Athens, Greece.  The painting was formerly part of the collection of Count Cesare Cicogna Mozzoni and Countess Annamaria Volpi di Misurata in Venice.

Category:Paintings of the Heptanese school


The Fall of Man (Poulakis)

Prompt: Focus on The Fall of Man (Poulakis) and explain the Description.

The materials used for the painting were tempera paint on a wood panel.  The height is 62.5 cm (24.6 in) and the width is 79 cm (31.1 in). The engraving by Delaune was partially replicated. Adam and Eve, the serpent, and the tree were imported by Poulakis from the sketch-like printed engraving.  The artist creatively animated the wood panel with a lavish landscape filled with birds and shrubbery.  In the background, a peach castle appears inlaid with brilliant variations of the color.  The color shading on the figures humanizes both Adam and Eve as they stand in the foreground.  The artist clearly illustrates a complex three-dimensional image.  Eve looks up at the half man half snake as it waves at her while Adam bites the apple.   Eve gazes at the serpent with a hypnotized sense of desire.  The tree and serpent occupy the middle ground.  Both Adam and Eve feature sculpted anatomies.  Their bodies are well-toned.  The artist adds roses and a water fountain to his landscape.  Poulakis and his contemporaries viewed pictorial expression based on observation.  The Fall of Man resonates the idea that the visual world must be observed before it could be analyzed and understood.

Category:Paintings of the Heptanese school


The Fall of Man (Poulakis)

Prompt: Explain the Description of this artwork, The Fall of Man (Poulakis).

The materials used for the painting were tempera paint on a wood panel.  The height is 62.5 cm (24.6 in) and the width is 79 cm (31.1 in). The engraving by Delaune was partially replicated. Adam and Eve, the serpent, and the tree were imported by Poulakis from the sketch-like printed engraving.  The artist creatively animated the wood panel with a lavish landscape filled with birds and shrubbery.  In the background, a peach castle appears inlaid with brilliant variations of the color.  The color shading on the figures humanizes both Adam and Eve as they stand in the foreground.  The artist clearly illustrates a complex three-dimensional image.  Eve looks up at the half man half snake as it waves at her while Adam bites the apple.   Eve gazes at the serpent with a hypnotized sense of desire.  The tree and serpent occupy the middle ground.  Both Adam and Eve feature sculpted anatomies.  Their bodies are well-toned.  The artist adds roses and a water fountain to his landscape.  Poulakis and his contemporaries viewed pictorial expression based on observation.  The Fall of Man resonates the idea that the visual world must be observed before it could be analyzed and understood.

Category:Paintings of the Heptanese school


The Fall of Man (Poulakis)

Prompt: How does The Fall of Man (Poulakis) explain its Description?

The materials used for the painting were tempera paint on a wood panel.  The height is 62.5 cm (24.6 in) and the width is 79 cm (31.1 in). The engraving by Delaune was partially replicated. Adam and Eve, the serpent, and the tree were imported by Poulakis from the sketch-like printed engraving.  The artist creatively animated the wood panel with a lavish landscape filled with birds and shrubbery.  In the background, a peach castle appears inlaid with brilliant variations of the color.  The color shading on the figures humanizes both Adam and Eve as they stand in the foreground.  The artist clearly illustrates a complex three-dimensional image.  Eve looks up at the half man half snake as it waves at her while Adam bites the apple.   Eve gazes at the serpent with a hypnotized sense of desire.  The tree and serpent occupy the middle ground.  Both Adam and Eve feature sculpted anatomies.  Their bodies are well-toned.  The artist adds roses and a water fountain to his landscape.  Poulakis and his contemporaries viewed pictorial expression based on observation.  The Fall of Man resonates the idea that the visual world must be observed before it could be analyzed and understood.

Category:Paintings of the Heptanese school


The Fall of Man (Poulakis)

Prompt: In The Fall of Man (Poulakis), how is the Description discussed?

The materials used for the painting were tempera paint on a wood panel.  The height is 62.5 cm (24.6 in) and the width is 79 cm (31.1 in). The engraving by Delaune was partially replicated. Adam and Eve, the serpent, and the tree were imported by Poulakis from the sketch-like printed engraving.  The artist creatively animated the wood panel with a lavish landscape filled with birds and shrubbery.  In the background, a peach castle appears inlaid with brilliant variations of the color.  The color shading on the figures humanizes both Adam and Eve as they stand in the foreground.  The artist clearly illustrates a complex three-dimensional image.  Eve looks up at the half man half snake as it waves at her while Adam bites the apple.   Eve gazes at the serpent with a hypnotized sense of desire.  The tree and serpent occupy the middle ground.  Both Adam and Eve feature sculpted anatomies.  Their bodies are well-toned.  The artist adds roses and a water fountain to his landscape.  Poulakis and his contemporaries viewed pictorial expression based on observation.  The Fall of Man resonates the idea that the visual world must be observed before it could be analyzed and understood.

Category:Paintings of the Heptanese school


Freezing Water Number 7

Prompt: Focus on Freezing Water Number 7 and explain the abstract.

Freezing Water Number 7 (stylized as Freezing Water #7) was a stainless steel sculpture by Chinese artist Ren Jun. It was erected in Vancouver, British Columbia's Vanier Park in 2009, just prior to the 2010 Winter Olympics, for the 2009–2011 Vancouver Biennale. The installation marked Jun's North American debut.In April 2011, The Georgia Straight reported that Freezing Water #7 was being re-installed in Richmond, British Columbia. A formal request was filed to extend the sculpture's temporary display in Vancouver for the 2014 Vancouver International Sculpture Biennale, along with two other works. Due to major erosion, the sculpture was disassembled in September 2014. The sculpture was more than 30 metres (98 ft) long and weighed over 6,000 kilograms (13,000 lb).The sculpture is said to have a "vertical twin", Water #10, which is installed in Richmond.

Category:2014 disestablishments in British Columbia

Category:2009 establishments in British Columbia

Category:Outdoor sculptures in Vancouver


Freezing Water Number 7

Prompt: Explain the abstract of this artwork, Freezing Water Number 7.

Freezing Water Number 7 (stylized as Freezing Water #7) was a stainless steel sculpture by Chinese artist Ren Jun. It was erected in Vancouver, British Columbia's Vanier Park in 2009, just prior to the 2010 Winter Olympics, for the 2009–2011 Vancouver Biennale. The installation marked Jun's North American debut.In April 2011, The Georgia Straight reported that Freezing Water #7 was being re-installed in Richmond, British Columbia. A formal request was filed to extend the sculpture's temporary display in Vancouver for the 2014 Vancouver International Sculpture Biennale, along with two other works. Due to major erosion, the sculpture was disassembled in September 2014. The sculpture was more than 30 metres (98 ft) long and weighed over 6,000 kilograms (13,000 lb).The sculpture is said to have a "vertical twin", Water #10, which is installed in Richmond.

Category:2014 disestablishments in British Columbia

Category:2009 establishments in British Columbia

Category:Outdoor sculptures in Vancouver


Freezing Water Number 7

Prompt: How does Freezing Water Number 7 explain its abstract?

Freezing Water Number 7 (stylized as Freezing Water #7) was a stainless steel sculpture by Chinese artist Ren Jun. It was erected in Vancouver, British Columbia's Vanier Park in 2009, just prior to the 2010 Winter Olympics, for the 2009–2011 Vancouver Biennale. The installation marked Jun's North American debut.In April 2011, The Georgia Straight reported that Freezing Water #7 was being re-installed in Richmond, British Columbia. A formal request was filed to extend the sculpture's temporary display in Vancouver for the 2014 Vancouver International Sculpture Biennale, along with two other works. Due to major erosion, the sculpture was disassembled in September 2014. The sculpture was more than 30 metres (98 ft) long and weighed over 6,000 kilograms (13,000 lb).The sculpture is said to have a "vertical twin", Water #10, which is installed in Richmond.

Category:2014 disestablishments in British Columbia

Category:2009 establishments in British Columbia

Category:Outdoor sculptures in Vancouver


Freezing Water Number 7

Prompt: In Freezing Water Number 7, how is the abstract discussed?

Freezing Water Number 7 (stylized as Freezing Water #7) was a stainless steel sculpture by Chinese artist Ren Jun. It was erected in Vancouver, British Columbia's Vanier Park in 2009, just prior to the 2010 Winter Olympics, for the 2009–2011 Vancouver Biennale. The installation marked Jun's North American debut.In April 2011, The Georgia Straight reported that Freezing Water #7 was being re-installed in Richmond, British Columbia. A formal request was filed to extend the sculpture's temporary display in Vancouver for the 2014 Vancouver International Sculpture Biennale, along with two other works. Due to major erosion, the sculpture was disassembled in September 2014. The sculpture was more than 30 metres (98 ft) long and weighed over 6,000 kilograms (13,000 lb).The sculpture is said to have a "vertical twin", Water #10, which is installed in Richmond.

Category:2014 disestablishments in British Columbia

Category:2009 establishments in British Columbia

Category:Outdoor sculptures in Vancouver


Oddo Memorial

Prompt: Focus on Oddo Memorial and explain the abstract.

The Oddo Memorial, also known as Christ the Teacher or Christ the Teacher and Four Students, is an outdoor sculptural group commemorating Reverend Thomas C. Oddo by Donovan Peterson, installed on the University of Portland campus in Portland, Oregon, United States. Oddo had advocated for the commissioning of a sculpture "that reflected both the University's Catholicity and its openness to all spiritual inquiry" in 1987. Oddo died in 1989, and in 1991, the university's president Reverend David T. Tyson recommended the sculpture serve as a memorial to Oddo. The memorial depicts Christ the Teacher and His companions.

Category:Outdoor sculptures in North Portland, Oregon


Oddo Memorial

Prompt: Explain the abstract of this artwork, Oddo Memorial.

The Oddo Memorial, also known as Christ the Teacher or Christ the Teacher and Four Students, is an outdoor sculptural group commemorating Reverend Thomas C. Oddo by Donovan Peterson, installed on the University of Portland campus in Portland, Oregon, United States. Oddo had advocated for the commissioning of a sculpture "that reflected both the University's Catholicity and its openness to all spiritual inquiry" in 1987. Oddo died in 1989, and in 1991, the university's president Reverend David T. Tyson recommended the sculpture serve as a memorial to Oddo. The memorial depicts Christ the Teacher and His companions.

Category:Outdoor sculptures in North Portland, Oregon


Oddo Memorial

Prompt: How does Oddo Memorial explain its abstract?

The Oddo Memorial, also known as Christ the Teacher or Christ the Teacher and Four Students, is an outdoor sculptural group commemorating Reverend Thomas C. Oddo by Donovan Peterson, installed on the University of Portland campus in Portland, Oregon, United States. Oddo had advocated for the commissioning of a sculpture "that reflected both the University's Catholicity and its openness to all spiritual inquiry" in 1987. Oddo died in 1989, and in 1991, the university's president Reverend David T. Tyson recommended the sculpture serve as a memorial to Oddo. The memorial depicts Christ the Teacher and His companions.

Category:Outdoor sculptures in North Portland, Oregon


Oddo Memorial

Prompt: In Oddo Memorial, how is the abstract discussed?

The Oddo Memorial, also known as Christ the Teacher or Christ the Teacher and Four Students, is an outdoor sculptural group commemorating Reverend Thomas C. Oddo by Donovan Peterson, installed on the University of Portland campus in Portland, Oregon, United States. Oddo had advocated for the commissioning of a sculpture "that reflected both the University's Catholicity and its openness to all spiritual inquiry" in 1987. Oddo died in 1989, and in 1991, the university's president Reverend David T. Tyson recommended the sculpture serve as a memorial to Oddo. The memorial depicts Christ the Teacher and His companions.

Category:Outdoor sculptures in North Portland, Oregon


Magdalen in the Desert

Prompt: Focus on Magdalen in the Desert and explain the abstract.

Magdalen in the Desert, also known as The Reading Magdalen, and The Magdalen Reading in a Cave, was an oil painting of uncertain date traditionally but disputedly attributed to Antonio da Correggio. The painting was last in the collection of the Gemäldegalerie Alte Meister in Dresden, but went missing after the Second World War.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Explain the abstract of this artwork, Magdalen in the Desert.

Magdalen in the Desert, also known as The Reading Magdalen, and The Magdalen Reading in a Cave, was an oil painting of uncertain date traditionally but disputedly attributed to Antonio da Correggio. The painting was last in the collection of the Gemäldegalerie Alte Meister in Dresden, but went missing after the Second World War.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: How does Magdalen in the Desert explain its abstract?

Magdalen in the Desert, also known as The Reading Magdalen, and The Magdalen Reading in a Cave, was an oil painting of uncertain date traditionally but disputedly attributed to Antonio da Correggio. The painting was last in the collection of the Gemäldegalerie Alte Meister in Dresden, but went missing after the Second World War.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: In Magdalen in the Desert, how is the abstract discussed?

Magdalen in the Desert, also known as The Reading Magdalen, and The Magdalen Reading in a Cave, was an oil painting of uncertain date traditionally but disputedly attributed to Antonio da Correggio. The painting was last in the collection of the Gemäldegalerie Alte Meister in Dresden, but went missing after the Second World War.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Focus on Magdalen in the Desert and explain the Subject.

Aimé Giron distinguishes between two kinds of Magdalens in art:I. the Repentant, emaciated, growing ugly, disfigured by tears and penitence at the end of her life, with a skull in her hand or before her eyes, not having had even—like the one sculptured in the Cathedral of Rouen—"for three times ten winters any other vesture than her long hair", according to Petrarch's verse; II. the Sinner, always young, always beautiful, always seductive, who has not lost any of her charms nor even of her coquetry, and with whom the Book of Life takes the place of the Death's Head.This Magdalen belongs, he says, to the latter class.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Explain the Subject of this artwork, Magdalen in the Desert.

Aimé Giron distinguishes between two kinds of Magdalens in art:I. the Repentant, emaciated, growing ugly, disfigured by tears and penitence at the end of her life, with a skull in her hand or before her eyes, not having had even—like the one sculptured in the Cathedral of Rouen—"for three times ten winters any other vesture than her long hair", according to Petrarch's verse; II. the Sinner, always young, always beautiful, always seductive, who has not lost any of her charms nor even of her coquetry, and with whom the Book of Life takes the place of the Death's Head.This Magdalen belongs, he says, to the latter class.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: How does Magdalen in the Desert explain its Subject?

Aimé Giron distinguishes between two kinds of Magdalens in art:I. the Repentant, emaciated, growing ugly, disfigured by tears and penitence at the end of her life, with a skull in her hand or before her eyes, not having had even—like the one sculptured in the Cathedral of Rouen—"for three times ten winters any other vesture than her long hair", according to Petrarch's verse; II. the Sinner, always young, always beautiful, always seductive, who has not lost any of her charms nor even of her coquetry, and with whom the Book of Life takes the place of the Death's Head.This Magdalen belongs, he says, to the latter class.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: In Magdalen in the Desert, how is the Subject discussed?

Aimé Giron distinguishes between two kinds of Magdalens in art:I. the Repentant, emaciated, growing ugly, disfigured by tears and penitence at the end of her life, with a skull in her hand or before her eyes, not having had even—like the one sculptured in the Cathedral of Rouen—"for three times ten winters any other vesture than her long hair", according to Petrarch's verse; II. the Sinner, always young, always beautiful, always seductive, who has not lost any of her charms nor even of her coquetry, and with whom the Book of Life takes the place of the Death's Head.This Magdalen belongs, he says, to the latter class.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Focus on Magdalen in the Desert and explain the Appraisal.

According to Giron, "This Magdalen … holds the first place among the small Correggios." He gives the following ecphrasis:In a solitary spot, but attractive with its verdure and rocks, on a grassy knoll the saint is stretched out at full length, with her shoulder, her bosom, her arms, and her feet adorably bare. A blue fabric drapes the rest of her body and forms a coquettish hood for her head and neck. Her flesh has a robust elegance of line. Leaning on her right elbow, her hand, half hidden in her hair, supports a charming and meditative head, while her other arm is slipped under an open manuscript. Her hair, long and blonde, according to legend—which she loves and still cares for because it once wiped the feet of her Saviour—falls in thick curls, or strays at will with a premeditated abandon. On the ground, to her right, stands the vase of perfumes of her first adoration; to the left are the stones of her supreme expiation.What grace in her attitude! What beauty of form! She is thrown in with a rare happiness and painted with an exquisite delicacy of touch and tint. The blue drapery upon the green landscape defines her sufficiently without making her stand out too much, leaving the figure and the landscape to mingle without disturbing each other in skilful harmony. All of this is in most finished execution, a little elaborate, perhaps, and the expression of the face reflects the sweet, sad memory of the Beloved, whose Gospels she is reading, just as one reads again tender letters of the past.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Explain the Appraisal of this artwork, Magdalen in the Desert.

According to Giron, "This Magdalen … holds the first place among the small Correggios." He gives the following ecphrasis:In a solitary spot, but attractive with its verdure and rocks, on a grassy knoll the saint is stretched out at full length, with her shoulder, her bosom, her arms, and her feet adorably bare. A blue fabric drapes the rest of her body and forms a coquettish hood for her head and neck. Her flesh has a robust elegance of line. Leaning on her right elbow, her hand, half hidden in her hair, supports a charming and meditative head, while her other arm is slipped under an open manuscript. Her hair, long and blonde, according to legend—which she loves and still cares for because it once wiped the feet of her Saviour—falls in thick curls, or strays at will with a premeditated abandon. On the ground, to her right, stands the vase of perfumes of her first adoration; to the left are the stones of her supreme expiation.What grace in her attitude! What beauty of form! She is thrown in with a rare happiness and painted with an exquisite delicacy of touch and tint. The blue drapery upon the green landscape defines her sufficiently without making her stand out too much, leaving the figure and the landscape to mingle without disturbing each other in skilful harmony. All of this is in most finished execution, a little elaborate, perhaps, and the expression of the face reflects the sweet, sad memory of the Beloved, whose Gospels she is reading, just as one reads again tender letters of the past.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: How does Magdalen in the Desert explain its Appraisal?

According to Giron, "This Magdalen … holds the first place among the small Correggios." He gives the following ecphrasis:In a solitary spot, but attractive with its verdure and rocks, on a grassy knoll the saint is stretched out at full length, with her shoulder, her bosom, her arms, and her feet adorably bare. A blue fabric drapes the rest of her body and forms a coquettish hood for her head and neck. Her flesh has a robust elegance of line. Leaning on her right elbow, her hand, half hidden in her hair, supports a charming and meditative head, while her other arm is slipped under an open manuscript. Her hair, long and blonde, according to legend—which she loves and still cares for because it once wiped the feet of her Saviour—falls in thick curls, or strays at will with a premeditated abandon. On the ground, to her right, stands the vase of perfumes of her first adoration; to the left are the stones of her supreme expiation.What grace in her attitude! What beauty of form! She is thrown in with a rare happiness and painted with an exquisite delicacy of touch and tint. The blue drapery upon the green landscape defines her sufficiently without making her stand out too much, leaving the figure and the landscape to mingle without disturbing each other in skilful harmony. All of this is in most finished execution, a little elaborate, perhaps, and the expression of the face reflects the sweet, sad memory of the Beloved, whose Gospels she is reading, just as one reads again tender letters of the past.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: In Magdalen in the Desert, how is the Appraisal discussed?

According to Giron, "This Magdalen … holds the first place among the small Correggios." He gives the following ecphrasis:In a solitary spot, but attractive with its verdure and rocks, on a grassy knoll the saint is stretched out at full length, with her shoulder, her bosom, her arms, and her feet adorably bare. A blue fabric drapes the rest of her body and forms a coquettish hood for her head and neck. Her flesh has a robust elegance of line. Leaning on her right elbow, her hand, half hidden in her hair, supports a charming and meditative head, while her other arm is slipped under an open manuscript. Her hair, long and blonde, according to legend—which she loves and still cares for because it once wiped the feet of her Saviour—falls in thick curls, or strays at will with a premeditated abandon. On the ground, to her right, stands the vase of perfumes of her first adoration; to the left are the stones of her supreme expiation.What grace in her attitude! What beauty of form! She is thrown in with a rare happiness and painted with an exquisite delicacy of touch and tint. The blue drapery upon the green landscape defines her sufficiently without making her stand out too much, leaving the figure and the landscape to mingle without disturbing each other in skilful harmony. All of this is in most finished execution, a little elaborate, perhaps, and the expression of the face reflects the sweet, sad memory of the Beloved, whose Gospels she is reading, just as one reads again tender letters of the past.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Focus on Magdalen in the Desert and explain the History.

This work was executed for the Dukes of Este, who kept it in a silver frame studded with precious stones and used it as an ornament for their bedrooms, and when they travelled, they took it with them in a casket. When the King of Poland became its possessor, he gave it a second boxing of glass with lock and key. In 1788, this masterpiece having been stolen, 1,000 ducats were promised for its discovery, and, in consideration of that sum, the thief denounced himself. Cristofano Allori, the greatest Florentine painter of the Decadence, made an admired copy for the Offices.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Explain the History of this artwork, Magdalen in the Desert.

This work was executed for the Dukes of Este, who kept it in a silver frame studded with precious stones and used it as an ornament for their bedrooms, and when they travelled, they took it with them in a casket. When the King of Poland became its possessor, he gave it a second boxing of glass with lock and key. In 1788, this masterpiece having been stolen, 1,000 ducats were promised for its discovery, and, in consideration of that sum, the thief denounced himself. Cristofano Allori, the greatest Florentine painter of the Decadence, made an admired copy for the Offices.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: How does Magdalen in the Desert explain its History?

This work was executed for the Dukes of Este, who kept it in a silver frame studded with precious stones and used it as an ornament for their bedrooms, and when they travelled, they took it with them in a casket. When the King of Poland became its possessor, he gave it a second boxing of glass with lock and key. In 1788, this masterpiece having been stolen, 1,000 ducats were promised for its discovery, and, in consideration of that sum, the thief denounced himself. Cristofano Allori, the greatest Florentine painter of the Decadence, made an admired copy for the Offices.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: In Magdalen in the Desert, how is the History discussed?

This work was executed for the Dukes of Este, who kept it in a silver frame studded with precious stones and used it as an ornament for their bedrooms, and when they travelled, they took it with them in a casket. When the King of Poland became its possessor, he gave it a second boxing of glass with lock and key. In 1788, this masterpiece having been stolen, 1,000 ducats were promised for its discovery, and, in consideration of that sum, the thief denounced himself. Cristofano Allori, the greatest Florentine painter of the Decadence, made an admired copy for the Offices.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Focus on Magdalen in the Desert and explain the Attribution.

This painting, for many years assigned to Correggio, was considered by some 19th century critics to be by some Flemish artist. Giovanni Morelli gave it as his opinion that the smooth and affected grace of the creation was due, not to any Italian painter, but to some Fleming of the end of the seventeenth or beginning of the eighteenth century. He further pointed out that no artist had painted upon copper before the end of the sixteenth century, and concluded by saying that a careful examination of the picture inclined him to attribute it to Adrien van der Werff, a master whose every characteristic appeared in the work, notably his colour, as in the crude dazzling blue of the drapery, his treatment of landscape, as in the miniature rendering of every stone and leaf, his peculiarities of type, as in the long nails, their edges catching the light. Even the surface cracks, he remarks, agree exactly with those in Adrien van der Werff's pictures.Deferring, however, to some lingering doubt, he adds the following: "It may be, perhaps, that the picture was not painted by Van der Werff himself, but by some contemporary and fellow-countryman. In no case, however, can it be accepted as the work of an Italian; much less of an Italian who flourished in the first thirty years of the sixteenth century. It may, however, be a copy by some foreign artist of the seventeenth century, from an original of the school of the Carracci."The picture at Dresden was also thought not improbably a copy of a lost work by Correggio. Numerous copies of this work exist elsewhere under Correggio's name, or as school-pictures (e.g. Palazzo Corsini, Rome).

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Explain the Attribution of this artwork, Magdalen in the Desert.

This painting, for many years assigned to Correggio, was considered by some 19th century critics to be by some Flemish artist. Giovanni Morelli gave it as his opinion that the smooth and affected grace of the creation was due, not to any Italian painter, but to some Fleming of the end of the seventeenth or beginning of the eighteenth century. He further pointed out that no artist had painted upon copper before the end of the sixteenth century, and concluded by saying that a careful examination of the picture inclined him to attribute it to Adrien van der Werff, a master whose every characteristic appeared in the work, notably his colour, as in the crude dazzling blue of the drapery, his treatment of landscape, as in the miniature rendering of every stone and leaf, his peculiarities of type, as in the long nails, their edges catching the light. Even the surface cracks, he remarks, agree exactly with those in Adrien van der Werff's pictures.Deferring, however, to some lingering doubt, he adds the following: "It may be, perhaps, that the picture was not painted by Van der Werff himself, but by some contemporary and fellow-countryman. In no case, however, can it be accepted as the work of an Italian; much less of an Italian who flourished in the first thirty years of the sixteenth century. It may, however, be a copy by some foreign artist of the seventeenth century, from an original of the school of the Carracci."The picture at Dresden was also thought not improbably a copy of a lost work by Correggio. Numerous copies of this work exist elsewhere under Correggio's name, or as school-pictures (e.g. Palazzo Corsini, Rome).

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: How does Magdalen in the Desert explain its Attribution?

This painting, for many years assigned to Correggio, was considered by some 19th century critics to be by some Flemish artist. Giovanni Morelli gave it as his opinion that the smooth and affected grace of the creation was due, not to any Italian painter, but to some Fleming of the end of the seventeenth or beginning of the eighteenth century. He further pointed out that no artist had painted upon copper before the end of the sixteenth century, and concluded by saying that a careful examination of the picture inclined him to attribute it to Adrien van der Werff, a master whose every characteristic appeared in the work, notably his colour, as in the crude dazzling blue of the drapery, his treatment of landscape, as in the miniature rendering of every stone and leaf, his peculiarities of type, as in the long nails, their edges catching the light. Even the surface cracks, he remarks, agree exactly with those in Adrien van der Werff's pictures.Deferring, however, to some lingering doubt, he adds the following: "It may be, perhaps, that the picture was not painted by Van der Werff himself, but by some contemporary and fellow-countryman. In no case, however, can it be accepted as the work of an Italian; much less of an Italian who flourished in the first thirty years of the sixteenth century. It may, however, be a copy by some foreign artist of the seventeenth century, from an original of the school of the Carracci."The picture at Dresden was also thought not improbably a copy of a lost work by Correggio. Numerous copies of this work exist elsewhere under Correggio's name, or as school-pictures (e.g. Palazzo Corsini, Rome).

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: In Magdalen in the Desert, how is the Attribution discussed?

This painting, for many years assigned to Correggio, was considered by some 19th century critics to be by some Flemish artist. Giovanni Morelli gave it as his opinion that the smooth and affected grace of the creation was due, not to any Italian painter, but to some Fleming of the end of the seventeenth or beginning of the eighteenth century. He further pointed out that no artist had painted upon copper before the end of the sixteenth century, and concluded by saying that a careful examination of the picture inclined him to attribute it to Adrien van der Werff, a master whose every characteristic appeared in the work, notably his colour, as in the crude dazzling blue of the drapery, his treatment of landscape, as in the miniature rendering of every stone and leaf, his peculiarities of type, as in the long nails, their edges catching the light. Even the surface cracks, he remarks, agree exactly with those in Adrien van der Werff's pictures.Deferring, however, to some lingering doubt, he adds the following: "It may be, perhaps, that the picture was not painted by Van der Werff himself, but by some contemporary and fellow-countryman. In no case, however, can it be accepted as the work of an Italian; much less of an Italian who flourished in the first thirty years of the sixteenth century. It may, however, be a copy by some foreign artist of the seventeenth century, from an original of the school of the Carracci."The picture at Dresden was also thought not improbably a copy of a lost work by Correggio. Numerous copies of this work exist elsewhere under Correggio's name, or as school-pictures (e.g. Palazzo Corsini, Rome).

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Focus on Magdalen in the Desert and explain the Provenance.

Formerly in the Este collection in Modena;Sold 1745–46 to Augustus III of Saxony;Afterwards in Dresden;Gone missing after the Second World War;Lost.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: Explain the Provenance of this artwork, Magdalen in the Desert.

Formerly in the Este collection in Modena;Sold 1745–46 to Augustus III of Saxony;Afterwards in Dresden;Gone missing after the Second World War;Lost.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: How does Magdalen in the Desert explain its Provenance?

Formerly in the Este collection in Modena;Sold 1745–46 to Augustus III of Saxony;Afterwards in Dresden;Gone missing after the Second World War;Lost.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Magdalen in the Desert

Prompt: In Magdalen in the Desert, how is the Provenance discussed?

Formerly in the Este collection in Modena;Sold 1745–46 to Augustus III of Saxony;Afterwards in Dresden;Gone missing after the Second World War;Lost.

File:Great pictures, as seen and described by famous writers (1899) (14598145358).jpg

''Penitent Magdalene Reading a Book''. Copy, in the [[Staatsgalerie Aschaffenburg

Italian Painters: Critical Studies of Their Works

File:Correggio (Antonio Allegri) (Nachahmer) - Büßende Magdalena, in einem Buch lesend - 6366 - Bavarian State Painting Collections.jpg

Antonio Allegri da Correggio: His Life, His Friends, and His Time


Fountain of Venus

Prompt: Focus on Fountain of Venus and explain the abstract.

The fountain of Venus (Spanish: Fuente de Venus) is installed in Mexico City's Alameda Central, in Mexico.It was gifted to Maximilian in 1866 by its author, Mathurin Moreau. An identical statue is placed in the town of Limoux, France.

Category:Sculptures of women in Mexico City

Category:Outdoor sculptures in Mexico City


Fountain of Venus

Prompt: Explain the abstract of this artwork, Fountain of Venus.

The fountain of Venus (Spanish: Fuente de Venus) is installed in Mexico City's Alameda Central, in Mexico.It was gifted to Maximilian in 1866 by its author, Mathurin Moreau. An identical statue is placed in the town of Limoux, France.

Category:Sculptures of women in Mexico City

Category:Outdoor sculptures in Mexico City


Fountain of Venus

Prompt: How does Fountain of Venus explain its abstract?

The fountain of Venus (Spanish: Fuente de Venus) is installed in Mexico City's Alameda Central, in Mexico.It was gifted to Maximilian in 1866 by its author, Mathurin Moreau. An identical statue is placed in the town of Limoux, France.

Category:Sculptures of women in Mexico City

Category:Outdoor sculptures in Mexico City


Fountain of Venus

Prompt: In Fountain of Venus, how is the abstract discussed?

The fountain of Venus (Spanish: Fuente de Venus) is installed in Mexico City's Alameda Central, in Mexico.It was gifted to Maximilian in 1866 by its author, Mathurin Moreau. An identical statue is placed in the town of Limoux, France.

Category:Sculptures of women in Mexico City

Category:Outdoor sculptures in Mexico City


Diptych of an elderly couple

Prompt: Focus on Diptych of an elderly couple and explain the abstract.

The Diptych of an elderly couple is a pair of bust-length wedding portraits by Hans Memling, which were formerly attached with pegs and were split some time before they were sold separately in 1894. One is in the collection of the Gemäldegalerie and the other is in the collection of the Louvre. When viewed side by side the landscape background joins up to form a whole.Nothing is known of the diptych before it was split. The paintings were sold from the collection of F. Meazza of Milan at the sale in April 1894. The Bode Museum purchased the male half, where it was later seen by William Henry James Weale, who included it in his 1901 Memling catalog: Another early portrait is in the Berlin Gallery, the bust of a man about seventy years of age, turned to the left, his hand resting on a parapet. He is clad in a black cloth robe, trimmed with fur, and wears a black cap which partly covers his ear. In the background are meadows and trees ; on the left, a castle with a crenelated bridge ; a cavalier is watering his horse at the stream, which flows past it into a wide river.The female half was purchased by Leo Nardus and eventually sold by F. Kleinberger to the Louvre in 1908. Before that, the painting was lent to Weale for his 1902 Bruges exhibition, so he must have seen it soon after publishing his Memling catalog, and he mentions in the exhibition catalog that it is the other half of the Berlin portrait.

Category:Paintings in the Louvre by Flemish artists

Category:Paintings in the Gemäldegalerie, Berlin

Exposition des primitifs flamands à Bruges


Diptych of an elderly couple

Prompt: Explain the abstract of this artwork, Diptych of an elderly couple.

The Diptych of an elderly couple is a pair of bust-length wedding portraits by Hans Memling, which were formerly attached with pegs and were split some time before they were sold separately in 1894. One is in the collection of the Gemäldegalerie and the other is in the collection of the Louvre. When viewed side by side the landscape background joins up to form a whole.Nothing is known of the diptych before it was split. The paintings were sold from the collection of F. Meazza of Milan at the sale in April 1894. The Bode Museum purchased the male half, where it was later seen by William Henry James Weale, who included it in his 1901 Memling catalog: Another early portrait is in the Berlin Gallery, the bust of a man about seventy years of age, turned to the left, his hand resting on a parapet. He is clad in a black cloth robe, trimmed with fur, and wears a black cap which partly covers his ear. In the background are meadows and trees ; on the left, a castle with a crenelated bridge ; a cavalier is watering his horse at the stream, which flows past it into a wide river.The female half was purchased by Leo Nardus and eventually sold by F. Kleinberger to the Louvre in 1908. Before that, the painting was lent to Weale for his 1902 Bruges exhibition, so he must have seen it soon after publishing his Memling catalog, and he mentions in the exhibition catalog that it is the other half of the Berlin portrait.

Category:Paintings in the Louvre by Flemish artists

Category:Paintings in the Gemäldegalerie, Berlin

Exposition des primitifs flamands à Bruges


Diptych of an elderly couple

Prompt: How does Diptych of an elderly couple explain its abstract?

The Diptych of an elderly couple is a pair of bust-length wedding portraits by Hans Memling, which were formerly attached with pegs and were split some time before they were sold separately in 1894. One is in the collection of the Gemäldegalerie and the other is in the collection of the Louvre. When viewed side by side the landscape background joins up to form a whole.Nothing is known of the diptych before it was split. The paintings were sold from the collection of F. Meazza of Milan at the sale in April 1894. The Bode Museum purchased the male half, where it was later seen by William Henry James Weale, who included it in his 1901 Memling catalog: Another early portrait is in the Berlin Gallery, the bust of a man about seventy years of age, turned to the left, his hand resting on a parapet. He is clad in a black cloth robe, trimmed with fur, and wears a black cap which partly covers his ear. In the background are meadows and trees ; on the left, a castle with a crenelated bridge ; a cavalier is watering his horse at the stream, which flows past it into a wide river.The female half was purchased by Leo Nardus and eventually sold by F. Kleinberger to the Louvre in 1908. Before that, the painting was lent to Weale for his 1902 Bruges exhibition, so he must have seen it soon after publishing his Memling catalog, and he mentions in the exhibition catalog that it is the other half of the Berlin portrait.

Category:Paintings in the Louvre by Flemish artists

Category:Paintings in the Gemäldegalerie, Berlin

Exposition des primitifs flamands à Bruges


Diptych of an elderly couple

Prompt: In Diptych of an elderly couple, how is the abstract discussed?

The Diptych of an elderly couple is a pair of bust-length wedding portraits by Hans Memling, which were formerly attached with pegs and were split some time before they were sold separately in 1894. One is in the collection of the Gemäldegalerie and the other is in the collection of the Louvre. When viewed side by side the landscape background joins up to form a whole.Nothing is known of the diptych before it was split. The paintings were sold from the collection of F. Meazza of Milan at the sale in April 1894. The Bode Museum purchased the male half, where it was later seen by William Henry James Weale, who included it in his 1901 Memling catalog: Another early portrait is in the Berlin Gallery, the bust of a man about seventy years of age, turned to the left, his hand resting on a parapet. He is clad in a black cloth robe, trimmed with fur, and wears a black cap which partly covers his ear. In the background are meadows and trees ; on the left, a castle with a crenelated bridge ; a cavalier is watering his horse at the stream, which flows past it into a wide river.The female half was purchased by Leo Nardus and eventually sold by F. Kleinberger to the Louvre in 1908. Before that, the painting was lent to Weale for his 1902 Bruges exhibition, so he must have seen it soon after publishing his Memling catalog, and he mentions in the exhibition catalog that it is the other half of the Berlin portrait.

Category:Paintings in the Louvre by Flemish artists

Category:Paintings in the Gemäldegalerie, Berlin

Exposition des primitifs flamands à Bruges


Grön eld

Prompt: Focus on Grön eld and explain the abstract.

Grön eld (Fire in Green) is a glass sculpture by Vicke Lindstrand at Järnvägstorget, which is located in front of Umeå Central Station, in Umeå, Sweden. It was, at nine meters, the tallest glass sculpture in the world at the time of its inauguration in 1970.

Järnvägstorget
Norrköping
Sven Wallander
piled foundation
Umeå Central Station
Vicke Lindstrand
Category:Umeå
Emmaboda glasverk
HSB
Mao Zedong
pedestal
HSB (Sweden)
SVT
Sveriges Television
ton
Category:Glass works of art
epoxy glue
Umeå Municipality
Category:Outdoor sculptures in Sweden
Category:Arts in Sweden
Dagens Nyheter
Umeå
Järnvägstorget, Umeå


Grön eld

Prompt: Explain the abstract of this artwork, Grön eld.

Grön eld (Fire in Green) is a glass sculpture by Vicke Lindstrand at Järnvägstorget, which is located in front of Umeå Central Station, in Umeå, Sweden. It was, at nine meters, the tallest glass sculpture in the world at the time of its inauguration in 1970.

Järnvägstorget
Norrköping
Sven Wallander
piled foundation
Umeå Central Station
Vicke Lindstrand
Category:Umeå
Emmaboda glasverk
HSB
Mao Zedong
pedestal
HSB (Sweden)
SVT
Sveriges Television
ton
Category:Glass works of art
epoxy glue
Umeå Municipality
Category:Outdoor sculptures in Sweden
Category:Arts in Sweden
Dagens Nyheter
Umeå
Järnvägstorget, Umeå


Grön eld

Prompt: How does Grön eld explain its abstract?

Grön eld (Fire in Green) is a glass sculpture by Vicke Lindstrand at Järnvägstorget, which is located in front of Umeå Central Station, in Umeå, Sweden. It was, at nine meters, the tallest glass sculpture in the world at the time of its inauguration in 1970.

Järnvägstorget
Norrköping
Sven Wallander
piled foundation
Umeå Central Station
Vicke Lindstrand
Category:Umeå
Emmaboda glasverk
HSB
Mao Zedong
pedestal
HSB (Sweden)
SVT
Sveriges Television
ton
Category:Glass works of art
epoxy glue
Umeå Municipality
Category:Outdoor sculptures in Sweden
Category:Arts in Sweden
Dagens Nyheter
Umeå
Järnvägstorget, Umeå


Grön eld

Prompt: In Grön eld, how is the abstract discussed?

Grön eld (Fire in Green) is a glass sculpture by Vicke Lindstrand at Järnvägstorget, which is located in front of Umeå Central Station, in Umeå, Sweden. It was, at nine meters, the tallest glass sculpture in the world at the time of its inauguration in 1970.

Järnvägstorget
Norrköping
Sven Wallander
piled foundation
Umeå Central Station
Vicke Lindstrand
Category:Umeå
Emmaboda glasverk
HSB
Mao Zedong
pedestal
HSB (Sweden)
SVT
Sveriges Television
ton
Category:Glass works of art
epoxy glue
Umeå Municipality
Category:Outdoor sculptures in Sweden
Category:Arts in Sweden
Dagens Nyheter
Umeå
Järnvägstorget, Umeå


Grön eld

Prompt: Focus on Grön eld and explain the History.

Sven Wallander, the head of HSB, commissioned the sculpture after he had seen the glass sculpture Prisma by Vicke Lindstrand in Norrköping. HSB donated Grön eld to Umeå Municipality, which paid for the foundation. Lennart Johansson, who assembled the sculpture in 1970, told the press in December 2013 that he had hidden an image of Mao Zedong in one of the glass flames of the sculpture.

Järnvägstorget
Norrköping
Sven Wallander
piled foundation
Umeå Central Station
Vicke Lindstrand
Category:Umeå
Emmaboda glasverk
HSB
Mao Zedong
pedestal
HSB (Sweden)
SVT
Sveriges Television
ton
Category:Glass works of art
epoxy glue
Umeå Municipality
Category:Outdoor sculptures in Sweden
Category:Arts in Sweden
Dagens Nyheter
Umeå
Järnvägstorget, Umeå