Saint Catherine Reading

Prompt: Focus on Saint Catherine Reading and explain the Provenance.

Acquired by Charles I, Charles II or James II;First certainly recorded in Store at Whitehall in 1688 (no. 242);East Closet, Hampton Court Palace (no. 281).

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: Explain the Provenance of this artwork, Saint Catherine Reading.

Acquired by Charles I, Charles II or James II;First certainly recorded in Store at Whitehall in 1688 (no. 242);East Closet, Hampton Court Palace (no. 281).

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: How does Saint Catherine Reading explain its Provenance?

Acquired by Charles I, Charles II or James II;First certainly recorded in Store at Whitehall in 1688 (no. 242);East Closet, Hampton Court Palace (no. 281).

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Saint Catherine Reading

Prompt: In Saint Catherine Reading, how is the Provenance discussed?

Acquired by Charles I, Charles II or James II;First certainly recorded in Store at Whitehall in 1688 (no. 242);East Closet, Hampton Court Palace (no. 281).

Correggio: A Collection of Fifteen Pictures and a Supposed Portrait of the Painter, with Introduction and Interpretation

wikisource:Bible (King James)/Revelation#Chapter 7

The painting before cleaning in 2007 to remove the discoloured varnish and overpaint.<ref name=":3" />

File:Correggio, santa caterina leggente.jpg


Slave Market in Ancient Rome

Prompt: Focus on Slave Market in Ancient Rome and explain the abstract.

Slave Market in Ancient Rome is a painting of about 1884 by French artist Jean-Léon Gérôme, who was known for combining classical, romantic, and realistic elements.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: Explain the abstract of this artwork, Slave Market in Ancient Rome.

Slave Market in Ancient Rome is a painting of about 1884 by French artist Jean-Léon Gérôme, who was known for combining classical, romantic, and realistic elements.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: How does Slave Market in Ancient Rome explain its abstract?

Slave Market in Ancient Rome is a painting of about 1884 by French artist Jean-Léon Gérôme, who was known for combining classical, romantic, and realistic elements.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: In Slave Market in Ancient Rome, how is the abstract discussed?

Slave Market in Ancient Rome is a painting of about 1884 by French artist Jean-Léon Gérôme, who was known for combining classical, romantic, and realistic elements.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: Focus on Slave Market in Ancient Rome and explain the Description.

It depicts an Ancient Roman slave auction in progress. At the center of a high dais is a completely nude woman having been recently undressed by the slave dealer situated to her right, who is displaying her to the crowd as they bid on her. The woman shields her eyes with her right hand due to the humiliating predicament of being publicly exposed in front of such a large crowd. Another nude young woman sits fearfully at the first woman's feet, covering her breasts with her legs in a protective pose, however, this leaves her genitals exposed to the crowd. Behind her is an older clothed woman holding an infant, she is surrounded by two naked children who she is probably the mother of. Her face has a look of dread as she knows she is to be auctioned soon, most likely being separated from her children forever. Behind the auction booth, two men are keeping an account of the sales, with a row of enslaved men looking on from behind them. It is one of his six slave-market scenes set in either ancient Rome or 19th-century Istanbul that Gérôme painted during his career.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: Explain the Description of this artwork, Slave Market in Ancient Rome.

It depicts an Ancient Roman slave auction in progress. At the center of a high dais is a completely nude woman having been recently undressed by the slave dealer situated to her right, who is displaying her to the crowd as they bid on her. The woman shields her eyes with her right hand due to the humiliating predicament of being publicly exposed in front of such a large crowd. Another nude young woman sits fearfully at the first woman's feet, covering her breasts with her legs in a protective pose, however, this leaves her genitals exposed to the crowd. Behind her is an older clothed woman holding an infant, she is surrounded by two naked children who she is probably the mother of. Her face has a look of dread as she knows she is to be auctioned soon, most likely being separated from her children forever. Behind the auction booth, two men are keeping an account of the sales, with a row of enslaved men looking on from behind them. It is one of his six slave-market scenes set in either ancient Rome or 19th-century Istanbul that Gérôme painted during his career.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: How does Slave Market in Ancient Rome explain its Description?

It depicts an Ancient Roman slave auction in progress. At the center of a high dais is a completely nude woman having been recently undressed by the slave dealer situated to her right, who is displaying her to the crowd as they bid on her. The woman shields her eyes with her right hand due to the humiliating predicament of being publicly exposed in front of such a large crowd. Another nude young woman sits fearfully at the first woman's feet, covering her breasts with her legs in a protective pose, however, this leaves her genitals exposed to the crowd. Behind her is an older clothed woman holding an infant, she is surrounded by two naked children who she is probably the mother of. Her face has a look of dread as she knows she is to be auctioned soon, most likely being separated from her children forever. Behind the auction booth, two men are keeping an account of the sales, with a row of enslaved men looking on from behind them. It is one of his six slave-market scenes set in either ancient Rome or 19th-century Istanbul that Gérôme painted during his career.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: In Slave Market in Ancient Rome, how is the Description discussed?

It depicts an Ancient Roman slave auction in progress. At the center of a high dais is a completely nude woman having been recently undressed by the slave dealer situated to her right, who is displaying her to the crowd as they bid on her. The woman shields her eyes with her right hand due to the humiliating predicament of being publicly exposed in front of such a large crowd. Another nude young woman sits fearfully at the first woman's feet, covering her breasts with her legs in a protective pose, however, this leaves her genitals exposed to the crowd. Behind her is an older clothed woman holding an infant, she is surrounded by two naked children who she is probably the mother of. Her face has a look of dread as she knows she is to be auctioned soon, most likely being separated from her children forever. Behind the auction booth, two men are keeping an account of the sales, with a row of enslaved men looking on from behind them. It is one of his six slave-market scenes set in either ancient Rome or 19th-century Istanbul that Gérôme painted during his career.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: Focus on Slave Market in Ancient Rome and explain the In Relation to  A Roman Slave Market.

The scheme and figures in this composition are more or less the reverse of his previous work, A Roman Slave Market, also completed in 1884.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: Explain the In Relation to  A Roman Slave Market of this artwork, Slave Market in Ancient Rome.

The scheme and figures in this composition are more or less the reverse of his previous work, A Roman Slave Market, also completed in 1884.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: How does Slave Market in Ancient Rome explain its In Relation to  A Roman Slave Market?

The scheme and figures in this composition are more or less the reverse of his previous work, A Roman Slave Market, also completed in 1884.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Slave Market in Ancient Rome

Prompt: In Slave Market in Ancient Rome, how is the In Relation to  A Roman Slave Market discussed?

The scheme and figures in this composition are more or less the reverse of his previous work, A Roman Slave Market, also completed in 1884.

File:Jean Leon Gerome Selling Slaves in Rome.jpg

Jean Leon Gerome's ''A Roman Slave Market''


Burke Jizō

Prompt: Focus on Burke Jizō and explain the abstract.

The Burke Jizō is a 13th century wooden statue of the bodhisattva Kṣitigarbha, carved in the around 1202 by the sculptor Kaikei. Originally held at Kōfuku-ji, it was held in private collections for many years, including that of American collector Mary Griggs Burke (1916-2012), whereupon in 2015, her collection was bequeathed to the Metropolitan Museum of Art among which includes this statue.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: Explain the abstract of this artwork, Burke Jizō.

The Burke Jizō is a 13th century wooden statue of the bodhisattva Kṣitigarbha, carved in the around 1202 by the sculptor Kaikei. Originally held at Kōfuku-ji, it was held in private collections for many years, including that of American collector Mary Griggs Burke (1916-2012), whereupon in 2015, her collection was bequeathed to the Metropolitan Museum of Art among which includes this statue.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: How does Burke Jizō explain its abstract?

The Burke Jizō is a 13th century wooden statue of the bodhisattva Kṣitigarbha, carved in the around 1202 by the sculptor Kaikei. Originally held at Kōfuku-ji, it was held in private collections for many years, including that of American collector Mary Griggs Burke (1916-2012), whereupon in 2015, her collection was bequeathed to the Metropolitan Museum of Art among which includes this statue.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: In Burke Jizō, how is the abstract discussed?

The Burke Jizō is a 13th century wooden statue of the bodhisattva Kṣitigarbha, carved in the around 1202 by the sculptor Kaikei. Originally held at Kōfuku-ji, it was held in private collections for many years, including that of American collector Mary Griggs Burke (1916-2012), whereupon in 2015, her collection was bequeathed to the Metropolitan Museum of Art among which includes this statue.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: Focus on Burke Jizō and explain the Background.

In 1180, during the Genpei War, the Siege of Nara goaded by the Taira clan caused the destruction of the city and its principal temples, Tōdai-ji and Kōfuku-ji. In the decades after the war, construction spurred, helmed by the Kei school, a studio dedicated towards Buddhist sculpture.Prominent members of the school includes Kōkei, his son Unkei, and Kaikei, who would later commission his first attributable work, the Boston Miroku in 1189 to Kōfuku-ji, where upon he would spend years carving the pantheon to restore the Nara temples to their former glory.In 1906, the Jizō was de-accessioned by Kōfuku-ji as the temple needed funds due to neglect, a fallout of the Meiji Restoration policy of shinbutsu bunri and haibutsu kishaku.In April 1970, type designer Jackson Burke and his wife, Mary, acquired the statue at the Galerie Janette Ostier, Paris. The Burke Collection would then become the largest collection of Japanese art outside of Japan, and as such the statue would be displayed on special exhibits from 1985 onwards. Upon the passing of Mary Griggs Burke in 2012, the collection including the Burke Jizō has since then become a part of the Metropolitan Museum of Art's permanent collection.In 2017, the statue was displayed at the Nara National Museum as part of a retrospective exhibit on Kaikei's work.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: Explain the Background of this artwork, Burke Jizō.

In 1180, during the Genpei War, the Siege of Nara goaded by the Taira clan caused the destruction of the city and its principal temples, Tōdai-ji and Kōfuku-ji. In the decades after the war, construction spurred, helmed by the Kei school, a studio dedicated towards Buddhist sculpture.Prominent members of the school includes Kōkei, his son Unkei, and Kaikei, who would later commission his first attributable work, the Boston Miroku in 1189 to Kōfuku-ji, where upon he would spend years carving the pantheon to restore the Nara temples to their former glory.In 1906, the Jizō was de-accessioned by Kōfuku-ji as the temple needed funds due to neglect, a fallout of the Meiji Restoration policy of shinbutsu bunri and haibutsu kishaku.In April 1970, type designer Jackson Burke and his wife, Mary, acquired the statue at the Galerie Janette Ostier, Paris. The Burke Collection would then become the largest collection of Japanese art outside of Japan, and as such the statue would be displayed on special exhibits from 1985 onwards. Upon the passing of Mary Griggs Burke in 2012, the collection including the Burke Jizō has since then become a part of the Metropolitan Museum of Art's permanent collection.In 2017, the statue was displayed at the Nara National Museum as part of a retrospective exhibit on Kaikei's work.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: How does Burke Jizō explain its Background?

In 1180, during the Genpei War, the Siege of Nara goaded by the Taira clan caused the destruction of the city and its principal temples, Tōdai-ji and Kōfuku-ji. In the decades after the war, construction spurred, helmed by the Kei school, a studio dedicated towards Buddhist sculpture.Prominent members of the school includes Kōkei, his son Unkei, and Kaikei, who would later commission his first attributable work, the Boston Miroku in 1189 to Kōfuku-ji, where upon he would spend years carving the pantheon to restore the Nara temples to their former glory.In 1906, the Jizō was de-accessioned by Kōfuku-ji as the temple needed funds due to neglect, a fallout of the Meiji Restoration policy of shinbutsu bunri and haibutsu kishaku.In April 1970, type designer Jackson Burke and his wife, Mary, acquired the statue at the Galerie Janette Ostier, Paris. The Burke Collection would then become the largest collection of Japanese art outside of Japan, and as such the statue would be displayed on special exhibits from 1985 onwards. Upon the passing of Mary Griggs Burke in 2012, the collection including the Burke Jizō has since then become a part of the Metropolitan Museum of Art's permanent collection.In 2017, the statue was displayed at the Nara National Museum as part of a retrospective exhibit on Kaikei's work.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: In Burke Jizō, how is the Background discussed?

In 1180, during the Genpei War, the Siege of Nara goaded by the Taira clan caused the destruction of the city and its principal temples, Tōdai-ji and Kōfuku-ji. In the decades after the war, construction spurred, helmed by the Kei school, a studio dedicated towards Buddhist sculpture.Prominent members of the school includes Kōkei, his son Unkei, and Kaikei, who would later commission his first attributable work, the Boston Miroku in 1189 to Kōfuku-ji, where upon he would spend years carving the pantheon to restore the Nara temples to their former glory.In 1906, the Jizō was de-accessioned by Kōfuku-ji as the temple needed funds due to neglect, a fallout of the Meiji Restoration policy of shinbutsu bunri and haibutsu kishaku.In April 1970, type designer Jackson Burke and his wife, Mary, acquired the statue at the Galerie Janette Ostier, Paris. The Burke Collection would then become the largest collection of Japanese art outside of Japan, and as such the statue would be displayed on special exhibits from 1985 onwards. Upon the passing of Mary Griggs Burke in 2012, the collection including the Burke Jizō has since then become a part of the Metropolitan Museum of Art's permanent collection.In 2017, the statue was displayed at the Nara National Museum as part of a retrospective exhibit on Kaikei's work.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: Focus on Burke Jizō and explain the Description.

The statue, carved from hinoki, is joined with a technique known as yosegi-zukuri (or multiple blocks), with a hollow interior, where the crystal eyes are inlaid. The Burke Jizō utilizes a signature style of Kaikei, which is that of a naturalistic model of the body, along with cut-gold patterning of the robes (kirikane). His right hand would hold a staff, the khakkhara and a jewel on the left hand (hōju no tama).While the Boston Miroku carved in 1189, represented the first phase of Kaikei's style, from 1192 to 1209 marked the second phase of his art career, in which he adopted the "An Ami" style, named after his signature "Kōshō An Amida Butsu" (Craftsman An Amida Buddha).This style was reflected on the Jizō, involving naturalism as well as linear and simplified decorations, heavily influenced by Song dynasty art, thanks to the abbot of Tōdai-ji, Chōgen. The abbot's visits to China inspired him to remodel Nara's temples from what was contemporary at the time.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: Explain the Description of this artwork, Burke Jizō.

The statue, carved from hinoki, is joined with a technique known as yosegi-zukuri (or multiple blocks), with a hollow interior, where the crystal eyes are inlaid. The Burke Jizō utilizes a signature style of Kaikei, which is that of a naturalistic model of the body, along with cut-gold patterning of the robes (kirikane). His right hand would hold a staff, the khakkhara and a jewel on the left hand (hōju no tama).While the Boston Miroku carved in 1189, represented the first phase of Kaikei's style, from 1192 to 1209 marked the second phase of his art career, in which he adopted the "An Ami" style, named after his signature "Kōshō An Amida Butsu" (Craftsman An Amida Buddha).This style was reflected on the Jizō, involving naturalism as well as linear and simplified decorations, heavily influenced by Song dynasty art, thanks to the abbot of Tōdai-ji, Chōgen. The abbot's visits to China inspired him to remodel Nara's temples from what was contemporary at the time.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: How does Burke Jizō explain its Description?

The statue, carved from hinoki, is joined with a technique known as yosegi-zukuri (or multiple blocks), with a hollow interior, where the crystal eyes are inlaid. The Burke Jizō utilizes a signature style of Kaikei, which is that of a naturalistic model of the body, along with cut-gold patterning of the robes (kirikane). His right hand would hold a staff, the khakkhara and a jewel on the left hand (hōju no tama).While the Boston Miroku carved in 1189, represented the first phase of Kaikei's style, from 1192 to 1209 marked the second phase of his art career, in which he adopted the "An Ami" style, named after his signature "Kōshō An Amida Butsu" (Craftsman An Amida Buddha).This style was reflected on the Jizō, involving naturalism as well as linear and simplified decorations, heavily influenced by Song dynasty art, thanks to the abbot of Tōdai-ji, Chōgen. The abbot's visits to China inspired him to remodel Nara's temples from what was contemporary at the time.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: In Burke Jizō, how is the Description discussed?

The statue, carved from hinoki, is joined with a technique known as yosegi-zukuri (or multiple blocks), with a hollow interior, where the crystal eyes are inlaid. The Burke Jizō utilizes a signature style of Kaikei, which is that of a naturalistic model of the body, along with cut-gold patterning of the robes (kirikane). His right hand would hold a staff, the khakkhara and a jewel on the left hand (hōju no tama).While the Boston Miroku carved in 1189, represented the first phase of Kaikei's style, from 1192 to 1209 marked the second phase of his art career, in which he adopted the "An Ami" style, named after his signature "Kōshō An Amida Butsu" (Craftsman An Amida Buddha).This style was reflected on the Jizō, involving naturalism as well as linear and simplified decorations, heavily influenced by Song dynasty art, thanks to the abbot of Tōdai-ji, Chōgen. The abbot's visits to China inspired him to remodel Nara's temples from what was contemporary at the time.

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: Focus on Burke Jizō and explain the See Also.

Statue of Jizō (Intan) - another statue of Jizō in the MET, also from Kōfuku-ji

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: Explain the See Also of this artwork, Burke Jizō.

Statue of Jizō (Intan) - another statue of Jizō in the MET, also from Kōfuku-ji

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: How does Burke Jizō explain its See Also?

Statue of Jizō (Intan) - another statue of Jizō in the MET, also from Kōfuku-ji

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Burke Jizō

Prompt: In Burke Jizō, how is the See Also discussed?

Statue of Jizō (Intan) - another statue of Jizō in the MET, also from Kōfuku-ji

title=観仏日々帖 こぼれ話～古写真を読み解く⑩：廃仏毀釈で、興福寺の仏像は壊されたり、棄てられたりしたのだろうか？ 〈その1〉 【2022.08.21】

Inlaid gold patterning of the robes of the statue.

The interior of the Jizo statue, marked with Kaikei's signature

File:1901; photos of statues from Kofuku-ji in various states of disrepair.jpg

A set of statues from Kofuku-ji various states of conditions in 1901. The Burke Jizo is displayed in the middle.<ref>{{Cite web

File:地蔵菩薩立像-Jizō Bosatsu MET DT352189.jpg

Category:Sculptures in the Metropolitan Museum of Art

Category:Wooden sculptures in New York City


Old Woman Reading

Prompt: Focus on Old Woman Reading and explain the abstract.

Old Woman Reading, also known as Old Woman Reading a Lectionary, is an oil painting by the Dutch painter Gerrit Dou, made c. 1631–1632. In the past the work was attributed to Rembrandt and was titled Rembrandt's Mother, but this attribution has long been rejected. The portrait has been part of the collection of the Rijksmuseum, in Amsterdam, since November 1912.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: Explain the abstract of this artwork, Old Woman Reading.

Old Woman Reading, also known as Old Woman Reading a Lectionary, is an oil painting by the Dutch painter Gerrit Dou, made c. 1631–1632. In the past the work was attributed to Rembrandt and was titled Rembrandt's Mother, but this attribution has long been rejected. The portrait has been part of the collection of the Rijksmuseum, in Amsterdam, since November 1912.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: How does Old Woman Reading explain its abstract?

Old Woman Reading, also known as Old Woman Reading a Lectionary, is an oil painting by the Dutch painter Gerrit Dou, made c. 1631–1632. In the past the work was attributed to Rembrandt and was titled Rembrandt's Mother, but this attribution has long been rejected. The portrait has been part of the collection of the Rijksmuseum, in Amsterdam, since November 1912.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: In Old Woman Reading, how is the abstract discussed?

Old Woman Reading, also known as Old Woman Reading a Lectionary, is an oil painting by the Dutch painter Gerrit Dou, made c. 1631–1632. In the past the work was attributed to Rembrandt and was titled Rembrandt's Mother, but this attribution has long been rejected. The portrait has been part of the collection of the Rijksmuseum, in Amsterdam, since November 1912.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: Focus on Old Woman Reading and explain the History.

In 1628, the fourteen-year-old Dou became the first pupil of Rembrandt, only seven years his senior, who shared a studio in Leiden with fellow painter Jan Lievens. Rembrandt himself painted in a refined style during that period, using strong contrasts between light and dark. This technique is also clearly reflected in the current painting. While Rembrandt would later emphatically reject this refinement, Dou focused on perfecting it further. After his teacher moved to Amsterdam in 1632, he became the founder of the Leiden Fijnschilder.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: Explain the History of this artwork, Old Woman Reading.

In 1628, the fourteen-year-old Dou became the first pupil of Rembrandt, only seven years his senior, who shared a studio in Leiden with fellow painter Jan Lievens. Rembrandt himself painted in a refined style during that period, using strong contrasts between light and dark. This technique is also clearly reflected in the current painting. While Rembrandt would later emphatically reject this refinement, Dou focused on perfecting it further. After his teacher moved to Amsterdam in 1632, he became the founder of the Leiden Fijnschilder.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: How does Old Woman Reading explain its History?

In 1628, the fourteen-year-old Dou became the first pupil of Rembrandt, only seven years his senior, who shared a studio in Leiden with fellow painter Jan Lievens. Rembrandt himself painted in a refined style during that period, using strong contrasts between light and dark. This technique is also clearly reflected in the current painting. While Rembrandt would later emphatically reject this refinement, Dou focused on perfecting it further. After his teacher moved to Amsterdam in 1632, he became the founder of the Leiden Fijnschilder.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: In Old Woman Reading, how is the History discussed?

In 1628, the fourteen-year-old Dou became the first pupil of Rembrandt, only seven years his senior, who shared a studio in Leiden with fellow painter Jan Lievens. Rembrandt himself painted in a refined style during that period, using strong contrasts between light and dark. This technique is also clearly reflected in the current painting. While Rembrandt would later emphatically reject this refinement, Dou focused on perfecting it further. After his teacher moved to Amsterdam in 1632, he became the founder of the Leiden Fijnschilder.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: Focus on Old Woman Reading and explain the Description.

In Old Woman Reading, Dou shows his talent and an exceptional technical skill for his young age. Not only the old woman and her clothes are painted with great precision, but also the Biblical text in the lectionary and the accompanying print are also extremely detailed and clearly visible. What she reads is plain to see: the beginning of the 19th chapter of the Gospel of Luke, where it states that whoever really wants to do good should give as much of his earthly possessions to the poor. That message seems to contrast with the old woman's expensive clothing, who apparently still clings to her possessions.Dou depicts the old woman in a remarkably realistic approach for his time by Northern European standards. He gives the viewer the feeling that he is close to the old woman, while she does not seem to notice it because of her rendering in profile and concentration on reading. The use of chiaroscuro, which he had learned from Rembrandt, is typical and emphasizes the most important details of the work. The background is smooth, sober and not distracting. Compositionally, the artist creates a soothing diagonal contrast between the upper left and the lower right parts.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: Explain the Description of this artwork, Old Woman Reading.

In Old Woman Reading, Dou shows his talent and an exceptional technical skill for his young age. Not only the old woman and her clothes are painted with great precision, but also the Biblical text in the lectionary and the accompanying print are also extremely detailed and clearly visible. What she reads is plain to see: the beginning of the 19th chapter of the Gospel of Luke, where it states that whoever really wants to do good should give as much of his earthly possessions to the poor. That message seems to contrast with the old woman's expensive clothing, who apparently still clings to her possessions.Dou depicts the old woman in a remarkably realistic approach for his time by Northern European standards. He gives the viewer the feeling that he is close to the old woman, while she does not seem to notice it because of her rendering in profile and concentration on reading. The use of chiaroscuro, which he had learned from Rembrandt, is typical and emphasizes the most important details of the work. The background is smooth, sober and not distracting. Compositionally, the artist creates a soothing diagonal contrast between the upper left and the lower right parts.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: How does Old Woman Reading explain its Description?

In Old Woman Reading, Dou shows his talent and an exceptional technical skill for his young age. Not only the old woman and her clothes are painted with great precision, but also the Biblical text in the lectionary and the accompanying print are also extremely detailed and clearly visible. What she reads is plain to see: the beginning of the 19th chapter of the Gospel of Luke, where it states that whoever really wants to do good should give as much of his earthly possessions to the poor. That message seems to contrast with the old woman's expensive clothing, who apparently still clings to her possessions.Dou depicts the old woman in a remarkably realistic approach for his time by Northern European standards. He gives the viewer the feeling that he is close to the old woman, while she does not seem to notice it because of her rendering in profile and concentration on reading. The use of chiaroscuro, which he had learned from Rembrandt, is typical and emphasizes the most important details of the work. The background is smooth, sober and not distracting. Compositionally, the artist creates a soothing diagonal contrast between the upper left and the lower right parts.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: In Old Woman Reading, how is the Description discussed?

In Old Woman Reading, Dou shows his talent and an exceptional technical skill for his young age. Not only the old woman and her clothes are painted with great precision, but also the Biblical text in the lectionary and the accompanying print are also extremely detailed and clearly visible. What she reads is plain to see: the beginning of the 19th chapter of the Gospel of Luke, where it states that whoever really wants to do good should give as much of his earthly possessions to the poor. That message seems to contrast with the old woman's expensive clothing, who apparently still clings to her possessions.Dou depicts the old woman in a remarkably realistic approach for his time by Northern European standards. He gives the viewer the feeling that he is close to the old woman, while she does not seem to notice it because of her rendering in profile and concentration on reading. The use of chiaroscuro, which he had learned from Rembrandt, is typical and emphasizes the most important details of the work. The background is smooth, sober and not distracting. Compositionally, the artist creates a soothing diagonal contrast between the upper left and the lower right parts.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: Focus on Old Woman Reading and explain the Authorship.

The painting was for a long time mistaken for being a portrait that Rembrandt made of his mother, hence the title of Rembrandt's Mother. It fitted with the ancient idea that Rembrandt had depicted many of his relatives in his paintings. His authorship seemed a foregone conclusion until 1900. During a major Rembrandt exhibition held in Amsterdam in 1898, when the painting was still in the collection of A. H. Hoekwater, it was presented as such, but soon after it came into doubt. In 1901, art historian Wilhelm Martin suggested in a book about Gerrit Dou that he was probably his author. He mentioned the style characteristics, pointing to Dou's use of the chiaroscuro and the smooth surface structure typical of his work, and also to the fact that Dou and Rembrandt, as well as Lievens, often used the same models. In fact, the old woman depicted here appears in works by all the three painters and Dou himself painted her several times.After 1900, it became increasingly clear that the designation of some of Rembrandt's models as his relatives was groundless. When the work was offered to the Rijksmuseum in November 1912 from the bequest of A. H. Hoekwater, it was therefore exhibited as a work by Dou under the current title. In 2005 it was one of the major works in the exhibition "Rembrandt's Mother, Myth and Reality", in the Museum De Lakenhal, in Leiden.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: Explain the Authorship of this artwork, Old Woman Reading.

The painting was for a long time mistaken for being a portrait that Rembrandt made of his mother, hence the title of Rembrandt's Mother. It fitted with the ancient idea that Rembrandt had depicted many of his relatives in his paintings. His authorship seemed a foregone conclusion until 1900. During a major Rembrandt exhibition held in Amsterdam in 1898, when the painting was still in the collection of A. H. Hoekwater, it was presented as such, but soon after it came into doubt. In 1901, art historian Wilhelm Martin suggested in a book about Gerrit Dou that he was probably his author. He mentioned the style characteristics, pointing to Dou's use of the chiaroscuro and the smooth surface structure typical of his work, and also to the fact that Dou and Rembrandt, as well as Lievens, often used the same models. In fact, the old woman depicted here appears in works by all the three painters and Dou himself painted her several times.After 1900, it became increasingly clear that the designation of some of Rembrandt's models as his relatives was groundless. When the work was offered to the Rijksmuseum in November 1912 from the bequest of A. H. Hoekwater, it was therefore exhibited as a work by Dou under the current title. In 2005 it was one of the major works in the exhibition "Rembrandt's Mother, Myth and Reality", in the Museum De Lakenhal, in Leiden.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: How does Old Woman Reading explain its Authorship?

The painting was for a long time mistaken for being a portrait that Rembrandt made of his mother, hence the title of Rembrandt's Mother. It fitted with the ancient idea that Rembrandt had depicted many of his relatives in his paintings. His authorship seemed a foregone conclusion until 1900. During a major Rembrandt exhibition held in Amsterdam in 1898, when the painting was still in the collection of A. H. Hoekwater, it was presented as such, but soon after it came into doubt. In 1901, art historian Wilhelm Martin suggested in a book about Gerrit Dou that he was probably his author. He mentioned the style characteristics, pointing to Dou's use of the chiaroscuro and the smooth surface structure typical of his work, and also to the fact that Dou and Rembrandt, as well as Lievens, often used the same models. In fact, the old woman depicted here appears in works by all the three painters and Dou himself painted her several times.After 1900, it became increasingly clear that the designation of some of Rembrandt's models as his relatives was groundless. When the work was offered to the Rijksmuseum in November 1912 from the bequest of A. H. Hoekwater, it was therefore exhibited as a work by Dou under the current title. In 2005 it was one of the major works in the exhibition "Rembrandt's Mother, Myth and Reality", in the Museum De Lakenhal, in Leiden.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


Old Woman Reading

Prompt: In Old Woman Reading, how is the Authorship discussed?

The painting was for a long time mistaken for being a portrait that Rembrandt made of his mother, hence the title of Rembrandt's Mother. It fitted with the ancient idea that Rembrandt had depicted many of his relatives in his paintings. His authorship seemed a foregone conclusion until 1900. During a major Rembrandt exhibition held in Amsterdam in 1898, when the painting was still in the collection of A. H. Hoekwater, it was presented as such, but soon after it came into doubt. In 1901, art historian Wilhelm Martin suggested in a book about Gerrit Dou that he was probably his author. He mentioned the style characteristics, pointing to Dou's use of the chiaroscuro and the smooth surface structure typical of his work, and also to the fact that Dou and Rembrandt, as well as Lievens, often used the same models. In fact, the old woman depicted here appears in works by all the three painters and Dou himself painted her several times.After 1900, it became increasingly clear that the designation of some of Rembrandt's models as his relatives was groundless. When the work was offered to the Rijksmuseum in November 1912 from the bequest of A. H. Hoekwater, it was therefore exhibited as a work by Dou under the current title. In 2005 it was one of the major works in the exhibition "Rembrandt's Mother, Myth and Reality", in the Museum De Lakenhal, in Leiden.

Category:Portraits of women
19th chapter of the Gospel of Luke
Jan Lievens
Category:Paintings by Gerrit Dou
Category:Paintings in the Rijksmuseum
Fijnschilder
Rijksmuseum
Category:Oil paintings
Rembrandt
Museum De Lakenhal
Oil painting
Gerrit Dou
Category:Books in art
chiaroscuro
Oil
Category:1632 paintings
Leiden
Luke 19
Amsterdam


The Judgement of Solomon (Giorgione)

Prompt: Focus on The Judgement of Solomon (Giorgione) and explain the abstract.

The Judgment of Solomon is a painting by the Italian Renaissance master Giorgione of the Judgement of Solomon created c. 1502–1505. It is housed in the Galleria degli Uffizi of Florence.The work is dimensionally and thematically similar to its Pendant painting Test of Fire of Moses, also in the Uffizi. It shows Solomon, King of the Jews, on the throne, with the court dignitaries and two women at his feet. The two women were both claiming the same child and had appealed to the King. Solomon's choice unmasked the faking one. Behind them are two large oaks which divide the landscape into two parts.A Ferrarese assistant collaborated with Giorgione in the realization of the figures.

Category:Paintings of the Judgement of Solomon


The Judgement of Solomon (Giorgione)

Prompt: Explain the abstract of this artwork, The Judgement of Solomon (Giorgione).

The Judgment of Solomon is a painting by the Italian Renaissance master Giorgione of the Judgement of Solomon created c. 1502–1505. It is housed in the Galleria degli Uffizi of Florence.The work is dimensionally and thematically similar to its Pendant painting Test of Fire of Moses, also in the Uffizi. It shows Solomon, King of the Jews, on the throne, with the court dignitaries and two women at his feet. The two women were both claiming the same child and had appealed to the King. Solomon's choice unmasked the faking one. Behind them are two large oaks which divide the landscape into two parts.A Ferrarese assistant collaborated with Giorgione in the realization of the figures.

Category:Paintings of the Judgement of Solomon


The Judgement of Solomon (Giorgione)

Prompt: How does The Judgement of Solomon (Giorgione) explain its abstract?

The Judgment of Solomon is a painting by the Italian Renaissance master Giorgione of the Judgement of Solomon created c. 1502–1505. It is housed in the Galleria degli Uffizi of Florence.The work is dimensionally and thematically similar to its Pendant painting Test of Fire of Moses, also in the Uffizi. It shows Solomon, King of the Jews, on the throne, with the court dignitaries and two women at his feet. The two women were both claiming the same child and had appealed to the King. Solomon's choice unmasked the faking one. Behind them are two large oaks which divide the landscape into two parts.A Ferrarese assistant collaborated with Giorgione in the realization of the figures.

Category:Paintings of the Judgement of Solomon


The Judgement of Solomon (Giorgione)

Prompt: In The Judgement of Solomon (Giorgione), how is the abstract discussed?

The Judgment of Solomon is a painting by the Italian Renaissance master Giorgione of the Judgement of Solomon created c. 1502–1505. It is housed in the Galleria degli Uffizi of Florence.The work is dimensionally and thematically similar to its Pendant painting Test of Fire of Moses, also in the Uffizi. It shows Solomon, King of the Jews, on the throne, with the court dignitaries and two women at his feet. The two women were both claiming the same child and had appealed to the King. Solomon's choice unmasked the faking one. Behind them are two large oaks which divide the landscape into two parts.A Ferrarese assistant collaborated with Giorgione in the realization of the figures.

Category:Paintings of the Judgement of Solomon


La parisienne japonaise

Prompt: Focus on La parisienne japonaise and explain the abstract.

La parisienne japonaise is an oil on canvas painting by Belgian painter Alfred Stevens. It depicts a young woman in a blue kimono standing in front of a mirror. The painting testifies to Stevens' involvement with Japonisme. Stevens was one of the earliest collectors of Japanese art in Paris.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: Explain the abstract of this artwork, La parisienne japonaise.

La parisienne japonaise is an oil on canvas painting by Belgian painter Alfred Stevens. It depicts a young woman in a blue kimono standing in front of a mirror. The painting testifies to Stevens' involvement with Japonisme. Stevens was one of the earliest collectors of Japanese art in Paris.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: How does La parisienne japonaise explain its abstract?

La parisienne japonaise is an oil on canvas painting by Belgian painter Alfred Stevens. It depicts a young woman in a blue kimono standing in front of a mirror. The painting testifies to Stevens' involvement with Japonisme. Stevens was one of the earliest collectors of Japanese art in Paris.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: In La parisienne japonaise, how is the abstract discussed?

La parisienne japonaise is an oil on canvas painting by Belgian painter Alfred Stevens. It depicts a young woman in a blue kimono standing in front of a mirror. The painting testifies to Stevens' involvement with Japonisme. Stevens was one of the earliest collectors of Japanese art in Paris.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: Focus on La parisienne japonaise and explain the Context.

During the Kaei era (1848–1854), after more than 200 years of seclusion, foreign merchant ships of various nationalities began to visit Japan. Following the Meiji Restoration in 1868, Japan ended a long period of national isolation and became open to imports from the West, including photography and printing techniques. With this new opening in trade, Japanese art and artifacts began to appear in small curiosity shops in Paris and London. Japonisme began as a craze for collecting Japanese art, particularly ukiyo-e. Some of the first samples of ukiyo-e were to be seen in Paris.The Ukiyo-e became a great influence on painting and the decorative arts. At that time, Japonisme influenced Steven' work, just as James McNeill Whistler's, to whom Stevens was close (Whistler was especially close to Tissot in the 1870s and to Stevens in the 1880s). Starting from the 1860s, paintings by Whistelr's friends Stevens and James Tissot depict European women whose enthralled gazes directed at East Asian objects seem to "invest those objects with uncanny vitality." Both Stevens and Whistler best expressed this exotic influence in a series of female portraits. La parisienne japonaise is a typical example therof. Almost all objects on display are Japanese and probably come from Stevens's personal collection.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: Explain the Context of this artwork, La parisienne japonaise.

During the Kaei era (1848–1854), after more than 200 years of seclusion, foreign merchant ships of various nationalities began to visit Japan. Following the Meiji Restoration in 1868, Japan ended a long period of national isolation and became open to imports from the West, including photography and printing techniques. With this new opening in trade, Japanese art and artifacts began to appear in small curiosity shops in Paris and London. Japonisme began as a craze for collecting Japanese art, particularly ukiyo-e. Some of the first samples of ukiyo-e were to be seen in Paris.The Ukiyo-e became a great influence on painting and the decorative arts. At that time, Japonisme influenced Steven' work, just as James McNeill Whistler's, to whom Stevens was close (Whistler was especially close to Tissot in the 1870s and to Stevens in the 1880s). Starting from the 1860s, paintings by Whistelr's friends Stevens and James Tissot depict European women whose enthralled gazes directed at East Asian objects seem to "invest those objects with uncanny vitality." Both Stevens and Whistler best expressed this exotic influence in a series of female portraits. La parisienne japonaise is a typical example therof. Almost all objects on display are Japanese and probably come from Stevens's personal collection.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: How does La parisienne japonaise explain its Context?

During the Kaei era (1848–1854), after more than 200 years of seclusion, foreign merchant ships of various nationalities began to visit Japan. Following the Meiji Restoration in 1868, Japan ended a long period of national isolation and became open to imports from the West, including photography and printing techniques. With this new opening in trade, Japanese art and artifacts began to appear in small curiosity shops in Paris and London. Japonisme began as a craze for collecting Japanese art, particularly ukiyo-e. Some of the first samples of ukiyo-e were to be seen in Paris.The Ukiyo-e became a great influence on painting and the decorative arts. At that time, Japonisme influenced Steven' work, just as James McNeill Whistler's, to whom Stevens was close (Whistler was especially close to Tissot in the 1870s and to Stevens in the 1880s). Starting from the 1860s, paintings by Whistelr's friends Stevens and James Tissot depict European women whose enthralled gazes directed at East Asian objects seem to "invest those objects with uncanny vitality." Both Stevens and Whistler best expressed this exotic influence in a series of female portraits. La parisienne japonaise is a typical example therof. Almost all objects on display are Japanese and probably come from Stevens's personal collection.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: In La parisienne japonaise, how is the Context discussed?

During the Kaei era (1848–1854), after more than 200 years of seclusion, foreign merchant ships of various nationalities began to visit Japan. Following the Meiji Restoration in 1868, Japan ended a long period of national isolation and became open to imports from the West, including photography and printing techniques. With this new opening in trade, Japanese art and artifacts began to appear in small curiosity shops in Paris and London. Japonisme began as a craze for collecting Japanese art, particularly ukiyo-e. Some of the first samples of ukiyo-e were to be seen in Paris.The Ukiyo-e became a great influence on painting and the decorative arts. At that time, Japonisme influenced Steven' work, just as James McNeill Whistler's, to whom Stevens was close (Whistler was especially close to Tissot in the 1870s and to Stevens in the 1880s). Starting from the 1860s, paintings by Whistelr's friends Stevens and James Tissot depict European women whose enthralled gazes directed at East Asian objects seem to "invest those objects with uncanny vitality." Both Stevens and Whistler best expressed this exotic influence in a series of female portraits. La parisienne japonaise is a typical example therof. Almost all objects on display are Japanese and probably come from Stevens's personal collection.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: Focus on La parisienne japonaise and explain the Painting.

La parisienne japonaise shows a sophisticated woman in an elegantly decorated blue kimono, with a fan in her right hand, standing in front of a mirror in which she looks at herself somewhat absentmindedly. The mirrored image also gives the viewer an impression of the space in which she is located. A vase of flowers is thus visible via the mirror on the left. The background is relatively empty, and a folding screen behind the young woman prevents from further inquiring into her whereabouts, so that the attention automatically returns to the model and her colorful, exotic dress.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: Explain the Painting of this artwork, La parisienne japonaise.

La parisienne japonaise shows a sophisticated woman in an elegantly decorated blue kimono, with a fan in her right hand, standing in front of a mirror in which she looks at herself somewhat absentmindedly. The mirrored image also gives the viewer an impression of the space in which she is located. A vase of flowers is thus visible via the mirror on the left. The background is relatively empty, and a folding screen behind the young woman prevents from further inquiring into her whereabouts, so that the attention automatically returns to the model and her colorful, exotic dress.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: How does La parisienne japonaise explain its Painting?

La parisienne japonaise shows a sophisticated woman in an elegantly decorated blue kimono, with a fan in her right hand, standing in front of a mirror in which she looks at herself somewhat absentmindedly. The mirrored image also gives the viewer an impression of the space in which she is located. A vase of flowers is thus visible via the mirror on the left. The background is relatively empty, and a folding screen behind the young woman prevents from further inquiring into her whereabouts, so that the attention automatically returns to the model and her colorful, exotic dress.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


La parisienne japonaise

Prompt: In La parisienne japonaise, how is the Painting discussed?

La parisienne japonaise shows a sophisticated woman in an elegantly decorated blue kimono, with a fan in her right hand, standing in front of a mirror in which she looks at herself somewhat absentmindedly. The mirrored image also gives the viewer an impression of the space in which she is located. A vase of flowers is thus visible via the mirror on the left. The background is relatively empty, and a folding screen behind the young woman prevents from further inquiring into her whereabouts, so that the attention automatically returns to the model and her colorful, exotic dress.

Association of Historians of Nineteenth-Century Art

File:Alfred-Stevens-Girl wearing a kimono.jpg


Sleeping Venus (Carracci)

Prompt: Focus on Sleeping Venus (Carracci) and explain the abstract.

Sleeping Venus (also known as Sleeping Venus with Putti) is a c. 1603 painting by Annibale Carracci held by the Musée Condé in Chantilly, Oise, France. This oil painting measures 190x328cm. It depicts Venus sleeping with her arm above her head as putti frolic around her. Carracci painted Sleeping Venus for Odoardo Farnese. Giovanni Battista Agucchi wrote an ekphrasis of this painting that Carlo Cesare Malvasia included in his book Life of the Carracci. In The Lives of the Modern Painters, Sculptors and Architects, Giovanni Pietro Bellori wrote a description of the painting that paraphrases Agucchi's ekphrasis without citation.

Category:Mythological paintings by Annibale Carracci


Sleeping Venus (Carracci)

Prompt: Explain the abstract of this artwork, Sleeping Venus (Carracci).

Sleeping Venus (also known as Sleeping Venus with Putti) is a c. 1603 painting by Annibale Carracci held by the Musée Condé in Chantilly, Oise, France. This oil painting measures 190x328cm. It depicts Venus sleeping with her arm above her head as putti frolic around her. Carracci painted Sleeping Venus for Odoardo Farnese. Giovanni Battista Agucchi wrote an ekphrasis of this painting that Carlo Cesare Malvasia included in his book Life of the Carracci. In The Lives of the Modern Painters, Sculptors and Architects, Giovanni Pietro Bellori wrote a description of the painting that paraphrases Agucchi's ekphrasis without citation.

Category:Mythological paintings by Annibale Carracci


Sleeping Venus (Carracci)

Prompt: How does Sleeping Venus (Carracci) explain its abstract?

Sleeping Venus (also known as Sleeping Venus with Putti) is a c. 1603 painting by Annibale Carracci held by the Musée Condé in Chantilly, Oise, France. This oil painting measures 190x328cm. It depicts Venus sleeping with her arm above her head as putti frolic around her. Carracci painted Sleeping Venus for Odoardo Farnese. Giovanni Battista Agucchi wrote an ekphrasis of this painting that Carlo Cesare Malvasia included in his book Life of the Carracci. In The Lives of the Modern Painters, Sculptors and Architects, Giovanni Pietro Bellori wrote a description of the painting that paraphrases Agucchi's ekphrasis without citation.

Category:Mythological paintings by Annibale Carracci


Sleeping Venus (Carracci)

Prompt: In Sleeping Venus (Carracci), how is the abstract discussed?

Sleeping Venus (also known as Sleeping Venus with Putti) is a c. 1603 painting by Annibale Carracci held by the Musée Condé in Chantilly, Oise, France. This oil painting measures 190x328cm. It depicts Venus sleeping with her arm above her head as putti frolic around her. Carracci painted Sleeping Venus for Odoardo Farnese. Giovanni Battista Agucchi wrote an ekphrasis of this painting that Carlo Cesare Malvasia included in his book Life of the Carracci. In The Lives of the Modern Painters, Sculptors and Architects, Giovanni Pietro Bellori wrote a description of the painting that paraphrases Agucchi's ekphrasis without citation.

Category:Mythological paintings by Annibale Carracci


Prompt: Focus on Statue of Junípero Serra (Sacramento, California) and explain the abstract.

A statue of Junípero Serra in Capitol Park, near the California State Capitol, in Sacramento, California, was installed from 1967 until 2020. The statue was put in storage after demonstrators toppled it during a racial justice protest. In August 2021, legislators passed a bill to replace the statue with a monument to local Indigenous nations. The bill needs the signature of the governor to become law.

List of monuments and memorials removed during the George Floyd protests

Category:Buildings and structures in Sacramento, California

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Monuments and memorials in California

Category:Sculptures of men in California


Prompt: Explain the abstract of this artwork, Statue of Junípero Serra (Sacramento, California).

A statue of Junípero Serra in Capitol Park, near the California State Capitol, in Sacramento, California, was installed from 1967 until 2020. The statue was put in storage after demonstrators toppled it during a racial justice protest. In August 2021, legislators passed a bill to replace the statue with a monument to local Indigenous nations. The bill needs the signature of the governor to become law.

List of monuments and memorials removed during the George Floyd protests

Category:Buildings and structures in Sacramento, California

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Monuments and memorials in California

Category:Sculptures of men in California


Prompt: How does Statue of Junípero Serra (Sacramento, California) explain its abstract?

A statue of Junípero Serra in Capitol Park, near the California State Capitol, in Sacramento, California, was installed from 1967 until 2020. The statue was put in storage after demonstrators toppled it during a racial justice protest. In August 2021, legislators passed a bill to replace the statue with a monument to local Indigenous nations. The bill needs the signature of the governor to become law.

List of monuments and memorials removed during the George Floyd protests

Category:Buildings and structures in Sacramento, California

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Monuments and memorials in California

Category:Sculptures of men in California


Prompt: In Statue of Junípero Serra (Sacramento, California), how is the abstract discussed?

A statue of Junípero Serra in Capitol Park, near the California State Capitol, in Sacramento, California, was installed from 1967 until 2020. The statue was put in storage after demonstrators toppled it during a racial justice protest. In August 2021, legislators passed a bill to replace the statue with a monument to local Indigenous nations. The bill needs the signature of the governor to become law.

List of monuments and memorials removed during the George Floyd protests

Category:Buildings and structures in Sacramento, California

Category:Monuments and memorials in the United States removed during the George Floyd protests

Category:Monuments and memorials in California

Category:Sculptures of men in California


Bust of Giovanni Vigevano

Prompt: Focus on Bust of Giovanni Vigevano and explain the abstract.

The bust of Giovanni Vigevano is a marble sculptural portrait by the Italian artist Gian Lorenzo Bernini. The bust was produced between 1617 and 1618, and was then inserted into Vigevano's tomb after he died in 1630. The tomb is in the church of Santa Maria sopra Minerva in Rome.

Category:Marble sculptures in Italy
Category:1630s sculptures
Category:Busts by Gian Lorenzo Bernini
Category:Busts in Italy
List of works by Gian Lorenzo Bernini
Gian Lorenzo Bernini
Santa Maria sopra Minerva


Bust of Giovanni Vigevano

Prompt: Explain the abstract of this artwork, Bust of Giovanni Vigevano.

The bust of Giovanni Vigevano is a marble sculptural portrait by the Italian artist Gian Lorenzo Bernini. The bust was produced between 1617 and 1618, and was then inserted into Vigevano's tomb after he died in 1630. The tomb is in the church of Santa Maria sopra Minerva in Rome.

Category:Marble sculptures in Italy
Category:1630s sculptures
Category:Busts by Gian Lorenzo Bernini
Category:Busts in Italy
List of works by Gian Lorenzo Bernini
Gian Lorenzo Bernini
Santa Maria sopra Minerva


Bust of Giovanni Vigevano

Prompt: How does Bust of Giovanni Vigevano explain its abstract?

The bust of Giovanni Vigevano is a marble sculptural portrait by the Italian artist Gian Lorenzo Bernini. The bust was produced between 1617 and 1618, and was then inserted into Vigevano's tomb after he died in 1630. The tomb is in the church of Santa Maria sopra Minerva in Rome.

Category:Marble sculptures in Italy
Category:1630s sculptures
Category:Busts by Gian Lorenzo Bernini
Category:Busts in Italy
List of works by Gian Lorenzo Bernini
Gian Lorenzo Bernini
Santa Maria sopra Minerva


Bust of Giovanni Vigevano

Prompt: In Bust of Giovanni Vigevano, how is the abstract discussed?

The bust of Giovanni Vigevano is a marble sculptural portrait by the Italian artist Gian Lorenzo Bernini. The bust was produced between 1617 and 1618, and was then inserted into Vigevano's tomb after he died in 1630. The tomb is in the church of Santa Maria sopra Minerva in Rome.

Category:Marble sculptures in Italy
Category:1630s sculptures
Category:Busts by Gian Lorenzo Bernini
Category:Busts in Italy
List of works by Gian Lorenzo Bernini
Gian Lorenzo Bernini
Santa Maria sopra Minerva


Prompt: Focus on Statue of Abraham Lincoln (Prestonsburg, Kentucky) and explain the abstract.

The Middle Creek National Battlefield Seated Lincoln Statue is a sculpture located in Prestonsburg, Kentucky at the Middle Creek National Battlefield. Originally commissioned by lawyer Eric Conn and established in Stanville, Kentucky, the statue was later sold and relocated.The statue is 19 feet (5.8 m) in height including the base of the statue, and the Lincoln statue itself is six feet (1.8 m) high.  The statue has been called the 'Second Largest Seated Lincoln Statue in the World;' after the Abraham Lincoln Memorial on the National Mall. However, the seated Lincoln statue in Boise, Idaho, is taller at 9 feet (2.75 m) without a base.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: Explain the abstract of this artwork, Statue of Abraham Lincoln (Prestonsburg, Kentucky).

The Middle Creek National Battlefield Seated Lincoln Statue is a sculpture located in Prestonsburg, Kentucky at the Middle Creek National Battlefield. Originally commissioned by lawyer Eric Conn and established in Stanville, Kentucky, the statue was later sold and relocated.The statue is 19 feet (5.8 m) in height including the base of the statue, and the Lincoln statue itself is six feet (1.8 m) high.  The statue has been called the 'Second Largest Seated Lincoln Statue in the World;' after the Abraham Lincoln Memorial on the National Mall. However, the seated Lincoln statue in Boise, Idaho, is taller at 9 feet (2.75 m) without a base.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: How does Statue of Abraham Lincoln (Prestonsburg, Kentucky) explain its abstract?

The Middle Creek National Battlefield Seated Lincoln Statue is a sculpture located in Prestonsburg, Kentucky at the Middle Creek National Battlefield. Originally commissioned by lawyer Eric Conn and established in Stanville, Kentucky, the statue was later sold and relocated.The statue is 19 feet (5.8 m) in height including the base of the statue, and the Lincoln statue itself is six feet (1.8 m) high.  The statue has been called the 'Second Largest Seated Lincoln Statue in the World;' after the Abraham Lincoln Memorial on the National Mall. However, the seated Lincoln statue in Boise, Idaho, is taller at 9 feet (2.75 m) without a base.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: In Statue of Abraham Lincoln (Prestonsburg, Kentucky), how is the abstract discussed?

The Middle Creek National Battlefield Seated Lincoln Statue is a sculpture located in Prestonsburg, Kentucky at the Middle Creek National Battlefield. Originally commissioned by lawyer Eric Conn and established in Stanville, Kentucky, the statue was later sold and relocated.The statue is 19 feet (5.8 m) in height including the base of the statue, and the Lincoln statue itself is six feet (1.8 m) high.  The statue has been called the 'Second Largest Seated Lincoln Statue in the World;' after the Abraham Lincoln Memorial on the National Mall. However, the seated Lincoln statue in Boise, Idaho, is taller at 9 feet (2.75 m) without a base.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: Focus on Statue of Abraham Lincoln (Prestonsburg, Kentucky) and explain the History.

Conn at first commissioned smaller studies of what would become the statue.  The statue was dedicated on November 4, 2010, the anniversary of the first and only Kentuckian elected to the White House.  The stated purpose of the statue is to remind Kentuckians that Abraham Lincoln was born and spent many years of his young developmental life in Kentucky.  Conn reportedly financed the entire cost of the statue without any outside financial support.  The cost of the statue was reported to be $500,000.00.The statue was first located in a small town in rural Kentucky off of Highway U.S. 23.  The estimated population of the rural town of Stanville, Kentucky is 415 based on the 2000 Census. Census 2000In July 2019 the statue was refurbished and relocated to the Middle Creek National Battlefield.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: Explain the History of this artwork, Statue of Abraham Lincoln (Prestonsburg, Kentucky).

Conn at first commissioned smaller studies of what would become the statue.  The statue was dedicated on November 4, 2010, the anniversary of the first and only Kentuckian elected to the White House.  The stated purpose of the statue is to remind Kentuckians that Abraham Lincoln was born and spent many years of his young developmental life in Kentucky.  Conn reportedly financed the entire cost of the statue without any outside financial support.  The cost of the statue was reported to be $500,000.00.The statue was first located in a small town in rural Kentucky off of Highway U.S. 23.  The estimated population of the rural town of Stanville, Kentucky is 415 based on the 2000 Census. Census 2000In July 2019 the statue was refurbished and relocated to the Middle Creek National Battlefield.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: How does Statue of Abraham Lincoln (Prestonsburg, Kentucky) explain its History?

Conn at first commissioned smaller studies of what would become the statue.  The statue was dedicated on November 4, 2010, the anniversary of the first and only Kentuckian elected to the White House.  The stated purpose of the statue is to remind Kentuckians that Abraham Lincoln was born and spent many years of his young developmental life in Kentucky.  Conn reportedly financed the entire cost of the statue without any outside financial support.  The cost of the statue was reported to be $500,000.00.The statue was first located in a small town in rural Kentucky off of Highway U.S. 23.  The estimated population of the rural town of Stanville, Kentucky is 415 based on the 2000 Census. Census 2000In July 2019 the statue was refurbished and relocated to the Middle Creek National Battlefield.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: In Statue of Abraham Lincoln (Prestonsburg, Kentucky), how is the History discussed?

Conn at first commissioned smaller studies of what would become the statue.  The statue was dedicated on November 4, 2010, the anniversary of the first and only Kentuckian elected to the White House.  The stated purpose of the statue is to remind Kentuckians that Abraham Lincoln was born and spent many years of his young developmental life in Kentucky.  Conn reportedly financed the entire cost of the statue without any outside financial support.  The cost of the statue was reported to be $500,000.00.The statue was first located in a small town in rural Kentucky off of Highway U.S. 23.  The estimated population of the rural town of Stanville, Kentucky is 415 based on the 2000 Census. Census 2000In July 2019 the statue was refurbished and relocated to the Middle Creek National Battlefield.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: Focus on Statue of Abraham Lincoln (Prestonsburg, Kentucky) and explain the Description.

The statue and base stands almost 19 feet (5.8 m) in height. Conn maintained that the statue, if the concrete base is included is the second largest seated Lincoln statue in the world.  The largest is the Abraham Lincoln Memorial on the National Mall in Washington D.C.  The statue is white with a white base.A crane had to put the statue in place.  It had to be delivered in three pieces due to the large size.  The statue weighs over a ton, not counting its cement base that is 16 feet square (1.5 m2) and six feet (1.8 m) high.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: Explain the Description of this artwork, Statue of Abraham Lincoln (Prestonsburg, Kentucky).

The statue and base stands almost 19 feet (5.8 m) in height. Conn maintained that the statue, if the concrete base is included is the second largest seated Lincoln statue in the world.  The largest is the Abraham Lincoln Memorial on the National Mall in Washington D.C.  The statue is white with a white base.A crane had to put the statue in place.  It had to be delivered in three pieces due to the large size.  The statue weighs over a ton, not counting its cement base that is 16 feet square (1.5 m2) and six feet (1.8 m) high.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: How does Statue of Abraham Lincoln (Prestonsburg, Kentucky) explain its Description?

The statue and base stands almost 19 feet (5.8 m) in height. Conn maintained that the statue, if the concrete base is included is the second largest seated Lincoln statue in the world.  The largest is the Abraham Lincoln Memorial on the National Mall in Washington D.C.  The statue is white with a white base.A crane had to put the statue in place.  It had to be delivered in three pieces due to the large size.  The statue weighs over a ton, not counting its cement base that is 16 feet square (1.5 m2) and six feet (1.8 m) high.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


Prompt: In Statue of Abraham Lincoln (Prestonsburg, Kentucky), how is the Description discussed?

The statue and base stands almost 19 feet (5.8 m) in height. Conn maintained that the statue, if the concrete base is included is the second largest seated Lincoln statue in the world.  The largest is the Abraham Lincoln Memorial on the National Mall in Washington D.C.  The statue is white with a white base.A crane had to put the statue in place.  It had to be delivered in three pieces due to the large size.  The statue weighs over a ton, not counting its cement base that is 16 feet square (1.5 m2) and six feet (1.8 m) high.

Category:Monuments and memorials in Kentucky

Category:Buildings and structures in Floyd County, Kentucky

List of sculptures of presidents of the United States

Category:Tourist attractions in Floyd County, Kentucky

Category:Statues of Abraham Lincoln in the United States

Category:2010 establishments in Kentucky

Category:Roadside attractions in Kentucky


God the Father - Arise

Prompt: Focus on God the Father - Arise and explain the abstract.

God the Father - Arise is a stained glass window by Stanisław Wyspiański in the Church of St. Francis of Assisi in Kraków, Poland. From about 1904, the work has bright modern motifs, geometric and natural shapes, heraldic elements.

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: Explain the abstract of this artwork, God the Father - Arise.

God the Father - Arise is a stained glass window by Stanisław Wyspiański in the Church of St. Francis of Assisi in Kraków, Poland. From about 1904, the work has bright modern motifs, geometric and natural shapes, heraldic elements.

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: How does God the Father - Arise explain its abstract?

God the Father - Arise is a stained glass window by Stanisław Wyspiański in the Church of St. Francis of Assisi in Kraków, Poland. From about 1904, the work has bright modern motifs, geometric and natural shapes, heraldic elements.

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: In God the Father - Arise, how is the abstract discussed?

God the Father - Arise is a stained glass window by Stanisław Wyspiański in the Church of St. Francis of Assisi in Kraków, Poland. From about 1904, the work has bright modern motifs, geometric and natural shapes, heraldic elements.

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: Focus on God the Father - Arise and explain the History.

Stanisław Wyspiański was versatile. In his literary works he left behind a lot of drawings, paintings and pastel pictures with views of Kraków, portraits, various illustrations and graphics. Wyspiański designed the stained glass windows and a series of murals for churches, and proposed the reconstruction of Wawel castle although the project was never implemented.In collaboration with Józef Mehoffer, Wyspiański created 36 stained-glass windows for St. Mary's in Kraków, Jan Matejko when helping in the restoration of the building. The creative tandem proved successful, and among other distinguished participation in the competition decorative arts in Paris, and the development of the exterior curtain for the  Juliusz Słowacki Theatre, in Kraków. On his own, Wyspiański designed for the Franciscan church, and created the stained glass artworks Rise, Blessed Salome, and Wounds of St. Francis.

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: Explain the History of this artwork, God the Father - Arise.

Stanisław Wyspiański was versatile. In his literary works he left behind a lot of drawings, paintings and pastel pictures with views of Kraków, portraits, various illustrations and graphics. Wyspiański designed the stained glass windows and a series of murals for churches, and proposed the reconstruction of Wawel castle although the project was never implemented.In collaboration with Józef Mehoffer, Wyspiański created 36 stained-glass windows for St. Mary's in Kraków, Jan Matejko when helping in the restoration of the building. The creative tandem proved successful, and among other distinguished participation in the competition decorative arts in Paris, and the development of the exterior curtain for the  Juliusz Słowacki Theatre, in Kraków. On his own, Wyspiański designed for the Franciscan church, and created the stained glass artworks Rise, Blessed Salome, and Wounds of St. Francis.

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: How does God the Father - Arise explain its History?

Stanisław Wyspiański was versatile. In his literary works he left behind a lot of drawings, paintings and pastel pictures with views of Kraków, portraits, various illustrations and graphics. Wyspiański designed the stained glass windows and a series of murals for churches, and proposed the reconstruction of Wawel castle although the project was never implemented.In collaboration with Józef Mehoffer, Wyspiański created 36 stained-glass windows for St. Mary's in Kraków, Jan Matejko when helping in the restoration of the building. The creative tandem proved successful, and among other distinguished participation in the competition decorative arts in Paris, and the development of the exterior curtain for the  Juliusz Słowacki Theatre, in Kraków. On his own, Wyspiański designed for the Franciscan church, and created the stained glass artworks Rise, Blessed Salome, and Wounds of St. Francis.

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: In God the Father - Arise, how is the History discussed?

Stanisław Wyspiański was versatile. In his literary works he left behind a lot of drawings, paintings and pastel pictures with views of Kraków, portraits, various illustrations and graphics. Wyspiański designed the stained glass windows and a series of murals for churches, and proposed the reconstruction of Wawel castle although the project was never implemented.In collaboration with Józef Mehoffer, Wyspiański created 36 stained-glass windows for St. Mary's in Kraków, Jan Matejko when helping in the restoration of the building. The creative tandem proved successful, and among other distinguished participation in the competition decorative arts in Paris, and the development of the exterior curtain for the  Juliusz Słowacki Theatre, in Kraków. On his own, Wyspiański designed for the Franciscan church, and created the stained glass artworks Rise, Blessed Salome, and Wounds of St. Francis.

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: Focus on God the Father - Arise and explain the Description.

God is depicted as an elderly man with a white beard, in a coat. He holds his left hand over his head, and the right points to the Earth. The artist described the creation of the world (Genesis 1:1, 1:16): "In the beginning God created the heaven and the earth ... And God made two great lights; the greater light to rule the day, and the lesser light to rule the night: he made the stars also."The last of God's creations was man (Genesis 1:26): "And God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth."

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: Explain the Description of this artwork, God the Father - Arise.

God is depicted as an elderly man with a white beard, in a coat. He holds his left hand over his head, and the right points to the Earth. The artist described the creation of the world (Genesis 1:1, 1:16): "In the beginning God created the heaven and the earth ... And God made two great lights; the greater light to rule the day, and the lesser light to rule the night: he made the stars also."The last of God's creations was man (Genesis 1:26): "And God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth."

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art


God the Father - Arise

Prompt: How does God the Father - Arise explain its Description?

God is depicted as an elderly man with a white beard, in a coat. He holds his left hand over his head, and the right points to the Earth. The artist described the creation of the world (Genesis 1:1, 1:16): "In the beginning God created the heaven and the earth ... And God made two great lights; the greater light to rule the day, and the lesser light to rule the night: he made the stars also."The last of God's creations was man (Genesis 1:26): "And God said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth."

Stanisław Wyspiański
Apollo (System Copernicus)
Wawel
Category:Works by Stanisław Wyspiański
Church of St. Francis of Assisi
Category:Culture in Kraków
Wawel Castle
Juliusz Słowacki Theatre
Kraków
Church of St. Francis of Assisi, Kraków
Category:1904 works
Category:Stained glass windows
Category:God the Father in art