Australian Seal

Prompt: In Australian Seal, how is the abstract discussed?

Australian Seal is an outdoor sculpture of 1968–69 by Thomas Bass, installed outside the Embassy of Australia, Washington, D.C., in the United States. The bronze sculpture measures approximately 8 feet (2.4 m) x 5 feet (1.5 m) x 2 feet (0.61 m) and is set on a flagstone base. It depicts a kangaroo, emu, and the Australian shield, which includes images of St. George's Cross, Queen Victoria's crown, a Maltese Cross, magpie, black swan, and lions. Above the shield is a seven-pointed star.

Category:Bronze sculptures in Washington, D.C.

Category:Massachusetts Avenue (Washington, D.C.)

Category:1969 establishments in Washington, D.C.

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

Category:Outdoor sculptures in Washington, D.C.

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

Category:Animal sculptures in Washington, D.C.


Pilgrimage to the Cedars in Lebanon

Prompt: Focus on Pilgrimage to the Cedars in Lebanon and explain the abstract.

Pilgrimage to Cedars of Lebanon (Hungarian: Zarándoklás a cédrusokhoz Libanonban) is a picture of the Hungarian painter Tivadar Csontváry Kosztka of 1907.

Category:Paintings in the Hungarian National Gallery


Pilgrimage to the Cedars in Lebanon

Prompt: Explain the abstract of this artwork, Pilgrimage to the Cedars in Lebanon.

Pilgrimage to Cedars of Lebanon (Hungarian: Zarándoklás a cédrusokhoz Libanonban) is a picture of the Hungarian painter Tivadar Csontváry Kosztka of 1907.

Category:Paintings in the Hungarian National Gallery


Pilgrimage to the Cedars in Lebanon

Prompt: How does Pilgrimage to the Cedars in Lebanon explain its abstract?

Pilgrimage to Cedars of Lebanon (Hungarian: Zarándoklás a cédrusokhoz Libanonban) is a picture of the Hungarian painter Tivadar Csontváry Kosztka of 1907.

Category:Paintings in the Hungarian National Gallery


Pilgrimage to the Cedars in Lebanon

Prompt: In Pilgrimage to the Cedars in Lebanon, how is the abstract discussed?

Pilgrimage to Cedars of Lebanon (Hungarian: Zarándoklás a cédrusokhoz Libanonban) is a picture of the Hungarian painter Tivadar Csontváry Kosztka of 1907.

Category:Paintings in the Hungarian National Gallery


Pilgrimage to the Cedars in Lebanon

Prompt: Focus on Pilgrimage to the Cedars in Lebanon and explain the Description.

The picture is painted with oil paints and has dimensions of 200 × 192 cm.  The picture is in the Hungarian National Gallery in Budapest.It is one of the most iconic paintings in Hungarian painting. After 40 years Tivadar Csontváry Kosztka left pharmaceuticals and took up art. He traveled thousands of miles in search of inspiration. The picture of cedar trees painted in Lebanon while on pilgrimage is a key part of his work. The symbolism stems from the strong religious character. According to the ancient  beliefs, cedars play an important role in ancient Hungarian mythology. The cedar is a symbol of fertility, assumed to be the tree of life and the tree of knowledge.In his painting, Csontváry presents his outlook, which is reflected in the art. It is a complex system of symbols, and synthesizes diverse content.

Category:Paintings in the Hungarian National Gallery


Pilgrimage to the Cedars in Lebanon

Prompt: Explain the Description of this artwork, Pilgrimage to the Cedars in Lebanon.

The picture is painted with oil paints and has dimensions of 200 × 192 cm.  The picture is in the Hungarian National Gallery in Budapest.It is one of the most iconic paintings in Hungarian painting. After 40 years Tivadar Csontváry Kosztka left pharmaceuticals and took up art. He traveled thousands of miles in search of inspiration. The picture of cedar trees painted in Lebanon while on pilgrimage is a key part of his work. The symbolism stems from the strong religious character. According to the ancient  beliefs, cedars play an important role in ancient Hungarian mythology. The cedar is a symbol of fertility, assumed to be the tree of life and the tree of knowledge.In his painting, Csontváry presents his outlook, which is reflected in the art. It is a complex system of symbols, and synthesizes diverse content.

Category:Paintings in the Hungarian National Gallery


Pilgrimage to the Cedars in Lebanon

Prompt: How does Pilgrimage to the Cedars in Lebanon explain its Description?

The picture is painted with oil paints and has dimensions of 200 × 192 cm.  The picture is in the Hungarian National Gallery in Budapest.It is one of the most iconic paintings in Hungarian painting. After 40 years Tivadar Csontváry Kosztka left pharmaceuticals and took up art. He traveled thousands of miles in search of inspiration. The picture of cedar trees painted in Lebanon while on pilgrimage is a key part of his work. The symbolism stems from the strong religious character. According to the ancient  beliefs, cedars play an important role in ancient Hungarian mythology. The cedar is a symbol of fertility, assumed to be the tree of life and the tree of knowledge.In his painting, Csontváry presents his outlook, which is reflected in the art. It is a complex system of symbols, and synthesizes diverse content.

Category:Paintings in the Hungarian National Gallery


Pilgrimage to the Cedars in Lebanon

Prompt: In Pilgrimage to the Cedars in Lebanon, how is the Description discussed?

The picture is painted with oil paints and has dimensions of 200 × 192 cm.  The picture is in the Hungarian National Gallery in Budapest.It is one of the most iconic paintings in Hungarian painting. After 40 years Tivadar Csontváry Kosztka left pharmaceuticals and took up art. He traveled thousands of miles in search of inspiration. The picture of cedar trees painted in Lebanon while on pilgrimage is a key part of his work. The symbolism stems from the strong religious character. According to the ancient  beliefs, cedars play an important role in ancient Hungarian mythology. The cedar is a symbol of fertility, assumed to be the tree of life and the tree of knowledge.In his painting, Csontváry presents his outlook, which is reflected in the art. It is a complex system of symbols, and synthesizes diverse content.

Category:Paintings in the Hungarian National Gallery


Prompt: Focus on The Road in Front of Saint-Simeon Farm in Winter and explain the abstract.

The Road in Front of Saint-Simeon Farm in Winter is an 1867 oil-on-canvas snowscape painted by French impressionist Claude Monet. It depicts a snow-covered road in front of a barn, with tracks of a horse cart and various footsteps in the snow. The painting is one of four related works from the winter of 1867, and represents Monet’s earliest series.  They include this work, followed by Road to the Farm, Saint-Siméon, Honfleur, Road in Front of Saint-Siméon Farm in Winter, and Cart on a Snowy Road at Honfleur.


Prompt: Explain the abstract of this artwork, The Road in Front of Saint-Simeon Farm in Winter.

The Road in Front of Saint-Simeon Farm in Winter is an 1867 oil-on-canvas snowscape painted by French impressionist Claude Monet. It depicts a snow-covered road in front of a barn, with tracks of a horse cart and various footsteps in the snow. The painting is one of four related works from the winter of 1867, and represents Monet’s earliest series.  They include this work, followed by Road to the Farm, Saint-Siméon, Honfleur, Road in Front of Saint-Siméon Farm in Winter, and Cart on a Snowy Road at Honfleur.


Prompt: How does The Road in Front of Saint-Simeon Farm in Winter explain its abstract?

The Road in Front of Saint-Simeon Farm in Winter is an 1867 oil-on-canvas snowscape painted by French impressionist Claude Monet. It depicts a snow-covered road in front of a barn, with tracks of a horse cart and various footsteps in the snow. The painting is one of four related works from the winter of 1867, and represents Monet’s earliest series.  They include this work, followed by Road to the Farm, Saint-Siméon, Honfleur, Road in Front of Saint-Siméon Farm in Winter, and Cart on a Snowy Road at Honfleur.


Prompt: In The Road in Front of Saint-Simeon Farm in Winter, how is the abstract discussed?

The Road in Front of Saint-Simeon Farm in Winter is an 1867 oil-on-canvas snowscape painted by French impressionist Claude Monet. It depicts a snow-covered road in front of a barn, with tracks of a horse cart and various footsteps in the snow. The painting is one of four related works from the winter of 1867, and represents Monet’s earliest series.  They include this work, followed by Road to the Farm, Saint-Siméon, Honfleur, Road in Front of Saint-Siméon Farm in Winter, and Cart on a Snowy Road at Honfleur.


Statue of Wendell Phillips

Prompt: Focus on Statue of Wendell Phillips and explain the abstract.

A statue of Wendell Phillips (sometimes called Wendell Phillips) is installed in Boston's Public Garden, in the U.S. state of Massachusetts.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Bronze sculptures in Massachusetts

Category:1915 establishments in Massachusetts

Category:Sculptures by Daniel Chester French

Public sculptures by Daniel Chester French

Category:Sculptures of men in Massachusetts


Statue of Wendell Phillips

Prompt: Explain the abstract of this artwork, Statue of Wendell Phillips.

A statue of Wendell Phillips (sometimes called Wendell Phillips) is installed in Boston's Public Garden, in the U.S. state of Massachusetts.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Bronze sculptures in Massachusetts

Category:1915 establishments in Massachusetts

Category:Sculptures by Daniel Chester French

Public sculptures by Daniel Chester French

Category:Sculptures of men in Massachusetts


Statue of Wendell Phillips

Prompt: How does Statue of Wendell Phillips explain its abstract?

A statue of Wendell Phillips (sometimes called Wendell Phillips) is installed in Boston's Public Garden, in the U.S. state of Massachusetts.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Bronze sculptures in Massachusetts

Category:1915 establishments in Massachusetts

Category:Sculptures by Daniel Chester French

Public sculptures by Daniel Chester French

Category:Sculptures of men in Massachusetts


Statue of Wendell Phillips

Prompt: In Statue of Wendell Phillips, how is the abstract discussed?

A statue of Wendell Phillips (sometimes called Wendell Phillips) is installed in Boston's Public Garden, in the U.S. state of Massachusetts.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Bronze sculptures in Massachusetts

Category:1915 establishments in Massachusetts

Category:Sculptures by Daniel Chester French

Public sculptures by Daniel Chester French

Category:Sculptures of men in Massachusetts


Statue of Wendell Phillips

Prompt: Focus on Statue of Wendell Phillips and explain the Description and history.

The bronze sculpture by Daniel Chester French was cast in 1914 and dedicated on July 4, 1915. The statue rests on a Stony Creek pink granite. The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Bronze sculptures in Massachusetts

Category:1915 establishments in Massachusetts

Category:Sculptures by Daniel Chester French

Public sculptures by Daniel Chester French

Category:Sculptures of men in Massachusetts


Statue of Wendell Phillips

Prompt: Explain the Description and history of this artwork, Statue of Wendell Phillips.

The bronze sculpture by Daniel Chester French was cast in 1914 and dedicated on July 4, 1915. The statue rests on a Stony Creek pink granite. The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Bronze sculptures in Massachusetts

Category:1915 establishments in Massachusetts

Category:Sculptures by Daniel Chester French

Public sculptures by Daniel Chester French

Category:Sculptures of men in Massachusetts


Statue of Wendell Phillips

Prompt: How does Statue of Wendell Phillips explain its Description and history?

The bronze sculpture by Daniel Chester French was cast in 1914 and dedicated on July 4, 1915. The statue rests on a Stony Creek pink granite. The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Bronze sculptures in Massachusetts

Category:1915 establishments in Massachusetts

Category:Sculptures by Daniel Chester French

Public sculptures by Daniel Chester French

Category:Sculptures of men in Massachusetts


Statue of Wendell Phillips

Prompt: In Statue of Wendell Phillips, how is the Description and history discussed?

The bronze sculpture by Daniel Chester French was cast in 1914 and dedicated on July 4, 1915. The statue rests on a Stony Creek pink granite. The artwork was surveyed by the Smithsonian Institution's "Save Outdoor Sculpture!" program in 1993.

Category:Granite sculptures in Massachusetts

Category:Monuments and memorials in Boston

Category:Bronze sculptures in Massachusetts

Category:1915 establishments in Massachusetts

Category:Sculptures by Daniel Chester French

Public sculptures by Daniel Chester French

Category:Sculptures of men in Massachusetts


Statue of Olive Risley Seward

Prompt: Focus on Statue of Olive Risley Seward and explain the abstract.

Olive Risley Seward is a lead on burlap statue by American sculptor John Cavanaugh, located at North Carolina Avenue and Sixth Street, Southeast, Washington, D.C., in the Capitol Hill neighborhood.Completed in 1971, it is a representation of Olive Risley Seward (1841–1908), the foster daughter of William H. Seward.

List of public art in Washington, D.C., Ward 6

Category:Outdoor sculptures in Washington, D.C.

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

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


Statue of Olive Risley Seward

Prompt: Explain the abstract of this artwork, Statue of Olive Risley Seward.

Olive Risley Seward is a lead on burlap statue by American sculptor John Cavanaugh, located at North Carolina Avenue and Sixth Street, Southeast, Washington, D.C., in the Capitol Hill neighborhood.Completed in 1971, it is a representation of Olive Risley Seward (1841–1908), the foster daughter of William H. Seward.

List of public art in Washington, D.C., Ward 6

Category:Outdoor sculptures in Washington, D.C.

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

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


Statue of Olive Risley Seward

Prompt: How does Statue of Olive Risley Seward explain its abstract?

Olive Risley Seward is a lead on burlap statue by American sculptor John Cavanaugh, located at North Carolina Avenue and Sixth Street, Southeast, Washington, D.C., in the Capitol Hill neighborhood.Completed in 1971, it is a representation of Olive Risley Seward (1841–1908), the foster daughter of William H. Seward.

List of public art in Washington, D.C., Ward 6

Category:Outdoor sculptures in Washington, D.C.

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

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


Statue of Olive Risley Seward

Prompt: In Statue of Olive Risley Seward, how is the abstract discussed?

Olive Risley Seward is a lead on burlap statue by American sculptor John Cavanaugh, located at North Carolina Avenue and Sixth Street, Southeast, Washington, D.C., in the Capitol Hill neighborhood.Completed in 1971, it is a representation of Olive Risley Seward (1841–1908), the foster daughter of William H. Seward.

List of public art in Washington, D.C., Ward 6

Category:Outdoor sculptures in Washington, D.C.

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

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


Geschlechterkampf

Prompt: Focus on Geschlechterkampf and explain the abstract.

The exhibition Battle of the Sexes – Franz von Stuck to Frida Kahlo (Geschlechterkampf – Franz von Stuck bis Frida Kahlo) was held from24 November 2016 to 19 March 2017 at the Städel-Museum in Frankfurtam Main. 140 paintings, films and sculptures reflected the change in genderroles and the perception of these roles.As logo of the exhibition two paintings have been used: Salome by Jean Benner and Elle (She) by Gustav-Adolf Mossa, the depiction of a femme fatale with the blood of her male victims smeared on her thighs, sitting on a mountain of their corpses. Her genitalia are hidden by a cat. An inscription reads: hoc volo, sic iubeo; sit pro ratione voluntas.On display were drawings, photographs, films, sculptures and paintings.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Explain the abstract of this artwork, Geschlechterkampf.

The exhibition Battle of the Sexes – Franz von Stuck to Frida Kahlo (Geschlechterkampf – Franz von Stuck bis Frida Kahlo) was held from24 November 2016 to 19 March 2017 at the Städel-Museum in Frankfurtam Main. 140 paintings, films and sculptures reflected the change in genderroles and the perception of these roles.As logo of the exhibition two paintings have been used: Salome by Jean Benner and Elle (She) by Gustav-Adolf Mossa, the depiction of a femme fatale with the blood of her male victims smeared on her thighs, sitting on a mountain of their corpses. Her genitalia are hidden by a cat. An inscription reads: hoc volo, sic iubeo; sit pro ratione voluntas.On display were drawings, photographs, films, sculptures and paintings.

Category:Articles containing video clips


Geschlechterkampf

Prompt: How does Geschlechterkampf explain its abstract?

The exhibition Battle of the Sexes – Franz von Stuck to Frida Kahlo (Geschlechterkampf – Franz von Stuck bis Frida Kahlo) was held from24 November 2016 to 19 March 2017 at the Städel-Museum in Frankfurtam Main. 140 paintings, films and sculptures reflected the change in genderroles and the perception of these roles.As logo of the exhibition two paintings have been used: Salome by Jean Benner and Elle (She) by Gustav-Adolf Mossa, the depiction of a femme fatale with the blood of her male victims smeared on her thighs, sitting on a mountain of their corpses. Her genitalia are hidden by a cat. An inscription reads: hoc volo, sic iubeo; sit pro ratione voluntas.On display were drawings, photographs, films, sculptures and paintings.

Category:Articles containing video clips


Geschlechterkampf

Prompt: In Geschlechterkampf, how is the abstract discussed?

The exhibition Battle of the Sexes – Franz von Stuck to Frida Kahlo (Geschlechterkampf – Franz von Stuck bis Frida Kahlo) was held from24 November 2016 to 19 March 2017 at the Städel-Museum in Frankfurtam Main. 140 paintings, films and sculptures reflected the change in genderroles and the perception of these roles.As logo of the exhibition two paintings have been used: Salome by Jean Benner and Elle (She) by Gustav-Adolf Mossa, the depiction of a femme fatale with the blood of her male victims smeared on her thighs, sitting on a mountain of their corpses. Her genitalia are hidden by a cat. An inscription reads: hoc volo, sic iubeo; sit pro ratione voluntas.On display were drawings, photographs, films, sculptures and paintings.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Focus on Geschlechterkampf and explain the Films.

Films shown in the exhibition were mostly from the Pre-Code-era.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Explain the Films of this artwork, Geschlechterkampf.

Films shown in the exhibition were mostly from the Pre-Code-era.

Category:Articles containing video clips


Geschlechterkampf

Prompt: How does Geschlechterkampf explain its Films?

Films shown in the exhibition were mostly from the Pre-Code-era.

Category:Articles containing video clips


Geschlechterkampf

Prompt: In Geschlechterkampf, how is the Films discussed?

Films shown in the exhibition were mostly from the Pre-Code-era.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Focus on Geschlechterkampf and explain the Sculptures.

There were other versions or castings of these sculptures present:Marcello's sculpture Pythia is a representation of the priest of the oracle of Delphi,who made her prophecies under the influence of hallucinogenic gas. They were then interpreted bymale priests. Well known is the prediction to the people of Athens to use wooden walls as a means todefeat the Persians. This was taken as advice to build triremes. The Persian fleet was defeated in theBattle of Salamis. On display is one of many castings of this main work of Marcello.The male pseudonym was used by the countess Adélaïde Nathalie Marie Hedwige Philippine d’Affry, who could not benefit from an education at the PAFA where Eakinsallowed women to study the nude. Therefore, she used castings of her own body in creatingthe sculpture.The tennis player was able to engage in this sport as rules on female clothing hadby the time been relaxed.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Explain the Sculptures of this artwork, Geschlechterkampf.

There were other versions or castings of these sculptures present:Marcello's sculpture Pythia is a representation of the priest of the oracle of Delphi,who made her prophecies under the influence of hallucinogenic gas. They were then interpreted bymale priests. Well known is the prediction to the people of Athens to use wooden walls as a means todefeat the Persians. This was taken as advice to build triremes. The Persian fleet was defeated in theBattle of Salamis. On display is one of many castings of this main work of Marcello.The male pseudonym was used by the countess Adélaïde Nathalie Marie Hedwige Philippine d’Affry, who could not benefit from an education at the PAFA where Eakinsallowed women to study the nude. Therefore, she used castings of her own body in creatingthe sculpture.The tennis player was able to engage in this sport as rules on female clothing hadby the time been relaxed.

Category:Articles containing video clips


Geschlechterkampf

Prompt: How does Geschlechterkampf explain its Sculptures?

There were other versions or castings of these sculptures present:Marcello's sculpture Pythia is a representation of the priest of the oracle of Delphi,who made her prophecies under the influence of hallucinogenic gas. They were then interpreted bymale priests. Well known is the prediction to the people of Athens to use wooden walls as a means todefeat the Persians. This was taken as advice to build triremes. The Persian fleet was defeated in theBattle of Salamis. On display is one of many castings of this main work of Marcello.The male pseudonym was used by the countess Adélaïde Nathalie Marie Hedwige Philippine d’Affry, who could not benefit from an education at the PAFA where Eakinsallowed women to study the nude. Therefore, she used castings of her own body in creatingthe sculpture.The tennis player was able to engage in this sport as rules on female clothing hadby the time been relaxed.

Category:Articles containing video clips


Geschlechterkampf

Prompt: In Geschlechterkampf, how is the Sculptures discussed?

There were other versions or castings of these sculptures present:Marcello's sculpture Pythia is a representation of the priest of the oracle of Delphi,who made her prophecies under the influence of hallucinogenic gas. They were then interpreted bymale priests. Well known is the prediction to the people of Athens to use wooden walls as a means todefeat the Persians. This was taken as advice to build triremes. The Persian fleet was defeated in theBattle of Salamis. On display is one of many castings of this main work of Marcello.The male pseudonym was used by the countess Adélaïde Nathalie Marie Hedwige Philippine d’Affry, who could not benefit from an education at the PAFA where Eakinsallowed women to study the nude. Therefore, she used castings of her own body in creatingthe sculpture.The tennis player was able to engage in this sport as rules on female clothing hadby the time been relaxed.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Focus on Geschlechterkampf and explain the Paintings.

Suzanne Valadon modeled herself as Eve. Adam is a portrait of her muse, her twentyyears younger lover. Both grab together for the forbidden fruit. Lilith was Adam's first wife and had to be replaced by Eve, when she showed her open hair in public and also fell otherwise out of the female role model.Clytemnestra is holding the sword she used to kill her husband, after he was willing to sacrifice their daughter Iphigenia to Artemis.Franz von Stuck, Edvard Munch, Otto Dix and Frida Kahlo are all represented by a number of paintings.Meret Oppenheim's My Nurse is part of the exhibition.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Explain the Paintings of this artwork, Geschlechterkampf.

Suzanne Valadon modeled herself as Eve. Adam is a portrait of her muse, her twentyyears younger lover. Both grab together for the forbidden fruit. Lilith was Adam's first wife and had to be replaced by Eve, when she showed her open hair in public and also fell otherwise out of the female role model.Clytemnestra is holding the sword she used to kill her husband, after he was willing to sacrifice their daughter Iphigenia to Artemis.Franz von Stuck, Edvard Munch, Otto Dix and Frida Kahlo are all represented by a number of paintings.Meret Oppenheim's My Nurse is part of the exhibition.

Category:Articles containing video clips


Geschlechterkampf

Prompt: How does Geschlechterkampf explain its Paintings?

Suzanne Valadon modeled herself as Eve. Adam is a portrait of her muse, her twentyyears younger lover. Both grab together for the forbidden fruit. Lilith was Adam's first wife and had to be replaced by Eve, when she showed her open hair in public and also fell otherwise out of the female role model.Clytemnestra is holding the sword she used to kill her husband, after he was willing to sacrifice their daughter Iphigenia to Artemis.Franz von Stuck, Edvard Munch, Otto Dix and Frida Kahlo are all represented by a number of paintings.Meret Oppenheim's My Nurse is part of the exhibition.

Category:Articles containing video clips


Geschlechterkampf

Prompt: In Geschlechterkampf, how is the Paintings discussed?

Suzanne Valadon modeled herself as Eve. Adam is a portrait of her muse, her twentyyears younger lover. Both grab together for the forbidden fruit. Lilith was Adam's first wife and had to be replaced by Eve, when she showed her open hair in public and also fell otherwise out of the female role model.Clytemnestra is holding the sword she used to kill her husband, after he was willing to sacrifice their daughter Iphigenia to Artemis.Franz von Stuck, Edvard Munch, Otto Dix and Frida Kahlo are all represented by a number of paintings.Meret Oppenheim's My Nurse is part of the exhibition.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Focus on Geschlechterkampf and explain the Perception.

Art used the exhibition as a cover story with the headlines "Leider geil!", "Lustmord-Bilder sind der Höhepunkt des Frauenhasses" and "Der groteske US-Wahlkampf war der totale Geschlechterkampf". Kunstzeitung speaks of a parade full of facets, spanning a hundred years.Handelsblatt sees a contrast between first rate works and sultry perfumed paintings from thesecond tier.Schwäbische Zeitung describes the fighting scenes as a traditional costume parade at a town festival.Frankfurter Allgemeine Zeitung comments on the timing of the exhibition atthe inauguration of Donald Trump.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Explain the Perception of this artwork, Geschlechterkampf.

Art used the exhibition as a cover story with the headlines "Leider geil!", "Lustmord-Bilder sind der Höhepunkt des Frauenhasses" and "Der groteske US-Wahlkampf war der totale Geschlechterkampf". Kunstzeitung speaks of a parade full of facets, spanning a hundred years.Handelsblatt sees a contrast between first rate works and sultry perfumed paintings from thesecond tier.Schwäbische Zeitung describes the fighting scenes as a traditional costume parade at a town festival.Frankfurter Allgemeine Zeitung comments on the timing of the exhibition atthe inauguration of Donald Trump.

Category:Articles containing video clips


Geschlechterkampf

Prompt: How does Geschlechterkampf explain its Perception?

Art used the exhibition as a cover story with the headlines "Leider geil!", "Lustmord-Bilder sind der Höhepunkt des Frauenhasses" and "Der groteske US-Wahlkampf war der totale Geschlechterkampf". Kunstzeitung speaks of a parade full of facets, spanning a hundred years.Handelsblatt sees a contrast between first rate works and sultry perfumed paintings from thesecond tier.Schwäbische Zeitung describes the fighting scenes as a traditional costume parade at a town festival.Frankfurter Allgemeine Zeitung comments on the timing of the exhibition atthe inauguration of Donald Trump.

Category:Articles containing video clips


Geschlechterkampf

Prompt: In Geschlechterkampf, how is the Perception discussed?

Art used the exhibition as a cover story with the headlines "Leider geil!", "Lustmord-Bilder sind der Höhepunkt des Frauenhasses" and "Der groteske US-Wahlkampf war der totale Geschlechterkampf". Kunstzeitung speaks of a parade full of facets, spanning a hundred years.Handelsblatt sees a contrast between first rate works and sultry perfumed paintings from thesecond tier.Schwäbische Zeitung describes the fighting scenes as a traditional costume parade at a town festival.Frankfurter Allgemeine Zeitung comments on the timing of the exhibition atthe inauguration of Donald Trump.

Category:Articles containing video clips


Geschlechterkampf

Prompt: Focus on Geschlechterkampf and explain the Literature.

Battle of the sexes: Franz von Stuck to Frida Kahlo, Felix Krämer, Cynthia Hall, Städel Museum, Prestel-Verlag, München, London, New York, 2016Geschlechterkampf: Franz von Stuck bis Frida Kahlo, Felix Krämer, Städel, Prestel, München, Frankfurt, 2016Geschlechterkampf, Brochure of the Städel-Museum, available at the Museumshop

Category:Articles containing video clips


Geschlechterkampf

Prompt: Explain the Literature of this artwork, Geschlechterkampf.

Battle of the sexes: Franz von Stuck to Frida Kahlo, Felix Krämer, Cynthia Hall, Städel Museum, Prestel-Verlag, München, London, New York, 2016Geschlechterkampf: Franz von Stuck bis Frida Kahlo, Felix Krämer, Städel, Prestel, München, Frankfurt, 2016Geschlechterkampf, Brochure of the Städel-Museum, available at the Museumshop

Category:Articles containing video clips


Geschlechterkampf

Prompt: How does Geschlechterkampf explain its Literature?

Battle of the sexes: Franz von Stuck to Frida Kahlo, Felix Krämer, Cynthia Hall, Städel Museum, Prestel-Verlag, München, London, New York, 2016Geschlechterkampf: Franz von Stuck bis Frida Kahlo, Felix Krämer, Städel, Prestel, München, Frankfurt, 2016Geschlechterkampf, Brochure of the Städel-Museum, available at the Museumshop

Category:Articles containing video clips


Geschlechterkampf

Prompt: In Geschlechterkampf, how is the Literature discussed?

Battle of the sexes: Franz von Stuck to Frida Kahlo, Felix Krämer, Cynthia Hall, Städel Museum, Prestel-Verlag, München, London, New York, 2016Geschlechterkampf: Franz von Stuck bis Frida Kahlo, Felix Krämer, Städel, Prestel, München, Frankfurt, 2016Geschlechterkampf, Brochure of the Städel-Museum, available at the Museumshop

Category:Articles containing video clips


Time Unveiling Truth (Tiepolo)

Prompt: Focus on Time Unveiling Truth (Tiepolo) and explain the abstract.

Time Unveiling Truth is a painting c. 1745–1750 by the Italian painter Tiepolo. It is now on display in the Museum of Fine Arts, Boston in Boston, Massachusetts. Father Time is shown on a chariot with a scythe uncovering the body of a female figure of Truth.The work remained in Verona until the 19th century, when it was transferred to Paris and resold several times, until it was bought by Rudolph Heinemann in 1960, who took it to New York. In 1961, it was sold to the Museum of Fine Arts in Boston, where the work remains today.

Category:Paintings by Giovanni Battista Tiepolo

Category:Paintings in the Museum of Fine Arts, Boston


Time Unveiling Truth (Tiepolo)

Prompt: Explain the abstract of this artwork, Time Unveiling Truth (Tiepolo).

Time Unveiling Truth is a painting c. 1745–1750 by the Italian painter Tiepolo. It is now on display in the Museum of Fine Arts, Boston in Boston, Massachusetts. Father Time is shown on a chariot with a scythe uncovering the body of a female figure of Truth.The work remained in Verona until the 19th century, when it was transferred to Paris and resold several times, until it was bought by Rudolph Heinemann in 1960, who took it to New York. In 1961, it was sold to the Museum of Fine Arts in Boston, where the work remains today.

Category:Paintings by Giovanni Battista Tiepolo

Category:Paintings in the Museum of Fine Arts, Boston


Time Unveiling Truth (Tiepolo)

Prompt: How does Time Unveiling Truth (Tiepolo) explain its abstract?

Time Unveiling Truth is a painting c. 1745–1750 by the Italian painter Tiepolo. It is now on display in the Museum of Fine Arts, Boston in Boston, Massachusetts. Father Time is shown on a chariot with a scythe uncovering the body of a female figure of Truth.The work remained in Verona until the 19th century, when it was transferred to Paris and resold several times, until it was bought by Rudolph Heinemann in 1960, who took it to New York. In 1961, it was sold to the Museum of Fine Arts in Boston, where the work remains today.

Category:Paintings by Giovanni Battista Tiepolo

Category:Paintings in the Museum of Fine Arts, Boston


Time Unveiling Truth (Tiepolo)

Prompt: In Time Unveiling Truth (Tiepolo), how is the abstract discussed?

Time Unveiling Truth is a painting c. 1745–1750 by the Italian painter Tiepolo. It is now on display in the Museum of Fine Arts, Boston in Boston, Massachusetts. Father Time is shown on a chariot with a scythe uncovering the body of a female figure of Truth.The work remained in Verona until the 19th century, when it was transferred to Paris and resold several times, until it was bought by Rudolph Heinemann in 1960, who took it to New York. In 1961, it was sold to the Museum of Fine Arts in Boston, where the work remains today.

Category:Paintings by Giovanni Battista Tiepolo

Category:Paintings in the Museum of Fine Arts, Boston


Time Unveiling Truth (Tiepolo)

Prompt: Focus on Time Unveiling Truth (Tiepolo) and explain the Provenance.

It was sold by Rudolph J. Heinemann to the Museum of Fine Arts of Boston for $210,000, on December 13, 1961.

Category:Paintings by Giovanni Battista Tiepolo

Category:Paintings in the Museum of Fine Arts, Boston


Time Unveiling Truth (Tiepolo)

Prompt: Explain the Provenance of this artwork, Time Unveiling Truth (Tiepolo).

It was sold by Rudolph J. Heinemann to the Museum of Fine Arts of Boston for $210,000, on December 13, 1961.

Category:Paintings by Giovanni Battista Tiepolo

Category:Paintings in the Museum of Fine Arts, Boston


Time Unveiling Truth (Tiepolo)

Prompt: How does Time Unveiling Truth (Tiepolo) explain its Provenance?

It was sold by Rudolph J. Heinemann to the Museum of Fine Arts of Boston for $210,000, on December 13, 1961.

Category:Paintings by Giovanni Battista Tiepolo

Category:Paintings in the Museum of Fine Arts, Boston


Time Unveiling Truth (Tiepolo)

Prompt: In Time Unveiling Truth (Tiepolo), how is the Provenance discussed?

It was sold by Rudolph J. Heinemann to the Museum of Fine Arts of Boston for $210,000, on December 13, 1961.

Category:Paintings by Giovanni Battista Tiepolo

Category:Paintings in the Museum of Fine Arts, Boston


The Penitent Saint Peter

Prompt: Focus on The Penitent Saint Peter and explain the abstract.

The Penitent Saint Peter is a painting by El Greco. It is part of the collection of the San Diego Museum of Art and depicts a praying Saint Peter, one of Jesus' apostles.

Category:Paintings in the San Diego Museum of Art


The Penitent Saint Peter

Prompt: Explain the abstract of this artwork, The Penitent Saint Peter.

The Penitent Saint Peter is a painting by El Greco. It is part of the collection of the San Diego Museum of Art and depicts a praying Saint Peter, one of Jesus' apostles.

Category:Paintings in the San Diego Museum of Art


The Penitent Saint Peter

Prompt: How does The Penitent Saint Peter explain its abstract?

The Penitent Saint Peter is a painting by El Greco. It is part of the collection of the San Diego Museum of Art and depicts a praying Saint Peter, one of Jesus' apostles.

Category:Paintings in the San Diego Museum of Art


The Penitent Saint Peter

Prompt: In The Penitent Saint Peter, how is the abstract discussed?

The Penitent Saint Peter is a painting by El Greco. It is part of the collection of the San Diego Museum of Art and depicts a praying Saint Peter, one of Jesus' apostles.

Category:Paintings in the San Diego Museum of Art


Odalisque (painting)

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

The Odalisque is a famous 1885 painting by award-winning Filipino painter and revolutionary activist Juan Luna. It is one of Luna's so-called "Academic Salon portraits" that followed the standards of proper proportion and perspective, and realistic depictions with "an air of dignity and allure". Although less polished than Luna's other works of art, the Odalisque is typical of the well-planned characteristics of the artist's portraits, meaning that the portraits were painted in a personal studio while expertly studying the desired effects, and with finesse. The Odalisque is one of the paintings that made Luna an officially accepted artist at the Salon of Paris because it shows Luna's skill at draftsmanship, his "talent to draw and to draw well". The Odalisque was formerly a part of the painting collection of Philippine national hero José Rizal. It is currently a component of the Don Luis Araneta Collection in the Philippines.

File:Odalisque painting by Juan Luna 1885.jpg


Odalisque (painting)

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

The Odalisque is a famous 1885 painting by award-winning Filipino painter and revolutionary activist Juan Luna. It is one of Luna's so-called "Academic Salon portraits" that followed the standards of proper proportion and perspective, and realistic depictions with "an air of dignity and allure". Although less polished than Luna's other works of art, the Odalisque is typical of the well-planned characteristics of the artist's portraits, meaning that the portraits were painted in a personal studio while expertly studying the desired effects, and with finesse. The Odalisque is one of the paintings that made Luna an officially accepted artist at the Salon of Paris because it shows Luna's skill at draftsmanship, his "talent to draw and to draw well". The Odalisque was formerly a part of the painting collection of Philippine national hero José Rizal. It is currently a component of the Don Luis Araneta Collection in the Philippines.

File:Odalisque painting by Juan Luna 1885.jpg


Odalisque (painting)

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

The Odalisque is a famous 1885 painting by award-winning Filipino painter and revolutionary activist Juan Luna. It is one of Luna's so-called "Academic Salon portraits" that followed the standards of proper proportion and perspective, and realistic depictions with "an air of dignity and allure". Although less polished than Luna's other works of art, the Odalisque is typical of the well-planned characteristics of the artist's portraits, meaning that the portraits were painted in a personal studio while expertly studying the desired effects, and with finesse. The Odalisque is one of the paintings that made Luna an officially accepted artist at the Salon of Paris because it shows Luna's skill at draftsmanship, his "talent to draw and to draw well". The Odalisque was formerly a part of the painting collection of Philippine national hero José Rizal. It is currently a component of the Don Luis Araneta Collection in the Philippines.

File:Odalisque painting by Juan Luna 1885.jpg


Odalisque (painting)

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

The Odalisque is a famous 1885 painting by award-winning Filipino painter and revolutionary activist Juan Luna. It is one of Luna's so-called "Academic Salon portraits" that followed the standards of proper proportion and perspective, and realistic depictions with "an air of dignity and allure". Although less polished than Luna's other works of art, the Odalisque is typical of the well-planned characteristics of the artist's portraits, meaning that the portraits were painted in a personal studio while expertly studying the desired effects, and with finesse. The Odalisque is one of the paintings that made Luna an officially accepted artist at the Salon of Paris because it shows Luna's skill at draftsmanship, his "talent to draw and to draw well". The Odalisque was formerly a part of the painting collection of Philippine national hero José Rizal. It is currently a component of the Don Luis Araneta Collection in the Philippines.

File:Odalisque painting by Juan Luna 1885.jpg


Statue of John of Nepomuk, Vyšehrad

Prompt: Focus on Statue of John of Nepomuk, Vyšehrad and explain the abstract.

The statue of John of Nepomuk (Czech: Socha svatého Jana Nepomuckého) is installed at Vyšehrad in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Statue of John of Nepomuk, Vyšehrad

Prompt: Explain the abstract of this artwork, Statue of John of Nepomuk, Vyšehrad.

The statue of John of Nepomuk (Czech: Socha svatého Jana Nepomuckého) is installed at Vyšehrad in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Statue of John of Nepomuk, Vyšehrad

Prompt: How does Statue of John of Nepomuk, Vyšehrad explain its abstract?

The statue of John of Nepomuk (Czech: Socha svatého Jana Nepomuckého) is installed at Vyšehrad in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Statue of John of Nepomuk, Vyšehrad

Prompt: In Statue of John of Nepomuk, Vyšehrad, how is the abstract discussed?

The statue of John of Nepomuk (Czech: Socha svatého Jana Nepomuckého) is installed at Vyšehrad in Prague, Czech Republic.

Category:Monuments and memorials in Prague


Jeanne Hébuterne with Bare Shoulders

Prompt: Focus on Jeanne Hébuterne with Bare Shoulders and explain the abstract.

Jeanne Hébuterne with Bare Shoulders (French: Jeanne Hébuterne aux épaules nues) is an oil on canvas painting by Italian painter Amedeo Modigliani created in 1919. Modigliani depicted Jeanne Hébuterne in more than twenty works but never nude.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: Explain the abstract of this artwork, Jeanne Hébuterne with Bare Shoulders.

Jeanne Hébuterne with Bare Shoulders (French: Jeanne Hébuterne aux épaules nues) is an oil on canvas painting by Italian painter Amedeo Modigliani created in 1919. Modigliani depicted Jeanne Hébuterne in more than twenty works but never nude.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: How does Jeanne Hébuterne with Bare Shoulders explain its abstract?

Jeanne Hébuterne with Bare Shoulders (French: Jeanne Hébuterne aux épaules nues) is an oil on canvas painting by Italian painter Amedeo Modigliani created in 1919. Modigliani depicted Jeanne Hébuterne in more than twenty works but never nude.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: In Jeanne Hébuterne with Bare Shoulders, how is the abstract discussed?

Jeanne Hébuterne with Bare Shoulders (French: Jeanne Hébuterne aux épaules nues) is an oil on canvas painting by Italian painter Amedeo Modigliani created in 1919. Modigliani depicted Jeanne Hébuterne in more than twenty works but never nude.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: Focus on Jeanne Hébuterne with Bare Shoulders and explain the Description.

Modigliani met Jeanne Hébuterne, a 19-year-old art student, in the spring of 1917, through the Russian sculptor Chana Orloff. Soon Modigliani ended his relationship with the English poet and art critic Beatrice Hastings, and shortly later Hébuterne and Modigliani moved together into a studio on the Rue de la Grande Chaumière. Hébuterne began to pose for him and appeared in several of his paintings. In March 1918 Modigliani and Hébuterne moved to Nice where their daughter Jeanne was born in November 1918. Jeanne Hébuterne became a principal subject for Modigliani's art. He transformed Hébuterne into an idyllic symbol of a modern woman. They returned to Paris in June 1919 and Hébuterne got pregnant for the second time. Shortly after Modigliani's death, while being eight month pregnant, Hébuterne committed suicide by throwing herself from the window of her parents’ apartment. It happened the following day after Modigliani's death of tubercular meningitis on 25 November 1920.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: Explain the Description of this artwork, Jeanne Hébuterne with Bare Shoulders.

Modigliani met Jeanne Hébuterne, a 19-year-old art student, in the spring of 1917, through the Russian sculptor Chana Orloff. Soon Modigliani ended his relationship with the English poet and art critic Beatrice Hastings, and shortly later Hébuterne and Modigliani moved together into a studio on the Rue de la Grande Chaumière. Hébuterne began to pose for him and appeared in several of his paintings. In March 1918 Modigliani and Hébuterne moved to Nice where their daughter Jeanne was born in November 1918. Jeanne Hébuterne became a principal subject for Modigliani's art. He transformed Hébuterne into an idyllic symbol of a modern woman. They returned to Paris in June 1919 and Hébuterne got pregnant for the second time. Shortly after Modigliani's death, while being eight month pregnant, Hébuterne committed suicide by throwing herself from the window of her parents’ apartment. It happened the following day after Modigliani's death of tubercular meningitis on 25 November 1920.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: How does Jeanne Hébuterne with Bare Shoulders explain its Description?

Modigliani met Jeanne Hébuterne, a 19-year-old art student, in the spring of 1917, through the Russian sculptor Chana Orloff. Soon Modigliani ended his relationship with the English poet and art critic Beatrice Hastings, and shortly later Hébuterne and Modigliani moved together into a studio on the Rue de la Grande Chaumière. Hébuterne began to pose for him and appeared in several of his paintings. In March 1918 Modigliani and Hébuterne moved to Nice where their daughter Jeanne was born in November 1918. Jeanne Hébuterne became a principal subject for Modigliani's art. He transformed Hébuterne into an idyllic symbol of a modern woman. They returned to Paris in June 1919 and Hébuterne got pregnant for the second time. Shortly after Modigliani's death, while being eight month pregnant, Hébuterne committed suicide by throwing herself from the window of her parents’ apartment. It happened the following day after Modigliani's death of tubercular meningitis on 25 November 1920.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: In Jeanne Hébuterne with Bare Shoulders, how is the Description discussed?

Modigliani met Jeanne Hébuterne, a 19-year-old art student, in the spring of 1917, through the Russian sculptor Chana Orloff. Soon Modigliani ended his relationship with the English poet and art critic Beatrice Hastings, and shortly later Hébuterne and Modigliani moved together into a studio on the Rue de la Grande Chaumière. Hébuterne began to pose for him and appeared in several of his paintings. In March 1918 Modigliani and Hébuterne moved to Nice where their daughter Jeanne was born in November 1918. Jeanne Hébuterne became a principal subject for Modigliani's art. He transformed Hébuterne into an idyllic symbol of a modern woman. They returned to Paris in June 1919 and Hébuterne got pregnant for the second time. Shortly after Modigliani's death, while being eight month pregnant, Hébuterne committed suicide by throwing herself from the window of her parents’ apartment. It happened the following day after Modigliani's death of tubercular meningitis on 25 November 1920.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: Focus on Jeanne Hébuterne with Bare Shoulders and explain the Provenance.

According to Marc Restellini publications, the painting belonged to Roger Dutilleul from 1922 to 1940, and since that time, it is in the property of the private collection in Paris.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: Explain the Provenance of this artwork, Jeanne Hébuterne with Bare Shoulders.

According to Marc Restellini publications, the painting belonged to Roger Dutilleul from 1922 to 1940, and since that time, it is in the property of the private collection in Paris.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: How does Jeanne Hébuterne with Bare Shoulders explain its Provenance?

According to Marc Restellini publications, the painting belonged to Roger Dutilleul from 1922 to 1940, and since that time, it is in the property of the private collection in Paris.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: In Jeanne Hébuterne with Bare Shoulders, how is the Provenance discussed?

According to Marc Restellini publications, the painting belonged to Roger Dutilleul from 1922 to 1940, and since that time, it is in the property of the private collection in Paris.

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: Focus on Jeanne Hébuterne with Bare Shoulders and explain the Exhibitions.

Paris, 1935Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 (curated by Marc Restellini) - n° 59Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 (curated by Marc Restellini) - n° 59South Korea, Amedeo Modigliani and Jeanne Hébuterne, Aram & Harmony Art Museum of Goyang, 2008

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: Explain the Exhibitions of this artwork, Jeanne Hébuterne with Bare Shoulders.

Paris, 1935Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 (curated by Marc Restellini) - n° 59Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 (curated by Marc Restellini) - n° 59South Korea, Amedeo Modigliani and Jeanne Hébuterne, Aram & Harmony Art Museum of Goyang, 2008

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: How does Jeanne Hébuterne with Bare Shoulders explain its Exhibitions?

Paris, 1935Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 (curated by Marc Restellini) - n° 59Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 (curated by Marc Restellini) - n° 59South Korea, Amedeo Modigliani and Jeanne Hébuterne, Aram & Harmony Art Museum of Goyang, 2008

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Jeanne Hébuterne with Bare Shoulders

Prompt: In Jeanne Hébuterne with Bare Shoulders, how is the Exhibitions discussed?

Paris, 1935Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 (curated by Marc Restellini) - n° 59Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 (curated by Marc Restellini) - n° 59South Korea, Amedeo Modigliani and Jeanne Hébuterne, Aram & Harmony Art Museum of Goyang, 2008

Category:Paintings by Amedeo Modigliani
Category:1919 paintings
Category:Portraits of women
Marc Restellini
Amedeo Modigliani
Category:20th-century portraits
Beatrice Hastings
Chana Orloff
Jeanne Hébuterne


Apollo and Cupid

Prompt: Focus on Apollo and Cupid and explain the abstract.

Apollo and Cupid is a bronze sculpture of the Greek god Apollo flanked by an amorino by the Flemish sculptor François Duquesnoy. Just like Duquesnoy's Mercury (whose putto is now lost) the statue was designed as a dialogue between a Greek god and a putto / Cupid. The sculpture has been described as more classicist when compared to the Mercury, with Apollo's feminine facial features akin to those of Duquesnoy's Saint Susanna, and the "vigorously molded" Cupid quite close to Duquesnoy's masterpiece, the putti adorning the Tomb of Ferdinand van den Eynde. Both the Mercury and Apollo and Cupid are currently housed at the private Liechtenstein Museum in Vienna.

Category:Sculptures of classical mythology

Category:Sculptures by François Duquesnoy

who had commissioned the ''Mercury'' from Duquesnoy


Apollo and Cupid

Prompt: Explain the abstract of this artwork, Apollo and Cupid.

Apollo and Cupid is a bronze sculpture of the Greek god Apollo flanked by an amorino by the Flemish sculptor François Duquesnoy. Just like Duquesnoy's Mercury (whose putto is now lost) the statue was designed as a dialogue between a Greek god and a putto / Cupid. The sculpture has been described as more classicist when compared to the Mercury, with Apollo's feminine facial features akin to those of Duquesnoy's Saint Susanna, and the "vigorously molded" Cupid quite close to Duquesnoy's masterpiece, the putti adorning the Tomb of Ferdinand van den Eynde. Both the Mercury and Apollo and Cupid are currently housed at the private Liechtenstein Museum in Vienna.

Category:Sculptures of classical mythology

Category:Sculptures by François Duquesnoy

who had commissioned the ''Mercury'' from Duquesnoy


Apollo and Cupid

Prompt: How does Apollo and Cupid explain its abstract?

Apollo and Cupid is a bronze sculpture of the Greek god Apollo flanked by an amorino by the Flemish sculptor François Duquesnoy. Just like Duquesnoy's Mercury (whose putto is now lost) the statue was designed as a dialogue between a Greek god and a putto / Cupid. The sculpture has been described as more classicist when compared to the Mercury, with Apollo's feminine facial features akin to those of Duquesnoy's Saint Susanna, and the "vigorously molded" Cupid quite close to Duquesnoy's masterpiece, the putti adorning the Tomb of Ferdinand van den Eynde. Both the Mercury and Apollo and Cupid are currently housed at the private Liechtenstein Museum in Vienna.

Category:Sculptures of classical mythology

Category:Sculptures by François Duquesnoy

who had commissioned the ''Mercury'' from Duquesnoy


Apollo and Cupid

Prompt: In Apollo and Cupid, how is the abstract discussed?

Apollo and Cupid is a bronze sculpture of the Greek god Apollo flanked by an amorino by the Flemish sculptor François Duquesnoy. Just like Duquesnoy's Mercury (whose putto is now lost) the statue was designed as a dialogue between a Greek god and a putto / Cupid. The sculpture has been described as more classicist when compared to the Mercury, with Apollo's feminine facial features akin to those of Duquesnoy's Saint Susanna, and the "vigorously molded" Cupid quite close to Duquesnoy's masterpiece, the putti adorning the Tomb of Ferdinand van den Eynde. Both the Mercury and Apollo and Cupid are currently housed at the private Liechtenstein Museum in Vienna.

Category:Sculptures of classical mythology

Category:Sculptures by François Duquesnoy

who had commissioned the ''Mercury'' from Duquesnoy


Apollo and Cupid

Prompt: Focus on Apollo and Cupid and explain the Sculpture.

According to Bellori, whilst this bronze is indeed a pendant to Duquesnoy's Mercury, it was designed several years later by the Fiammingo. Indeed, the sculpture was not realized for Vincenzo Giustiniani (the Greek sculpture enthusiast who had commissioned the Mercury from Duquesnoy) but for another patron. Further, a different dating for the two sculptures is suggested by stylistic differences. Duquesnoy's Apollo and Cupid is first recorded in and inventory of Karl Eusebius, Prince of Liechtenstein at Feldsberg. It has been suggested that Karl Eusebius commissioned this oeuvre himself.The subject of the sculpture has been determined to be Apollo instructing Cupid how to shoot an arrow, with Cupid depicted while imitating him. The god leans on a tree stump, "in a graceful contrapposto that echoes that of the Mercury, but without its backward tilt." Apollo originally held a bow in his left hand. With his right hand, Apollo instructs Cupid to extract a bow from his quiver. According to the Liechtenstein Museum Press, "Duquesnoy gave his figures a softly chased surface and a subtle modulation that creates a gentle interplay of light and shade."Together with the Mercury, the bronze was greatly admired by Austrian sculptor Georg Rafael Donner, who copied Duquesnoy's bronzes. Duquesnoy's authorship was forgotten in the eighteenth century, and the work was thought to be an antique.

Category:Sculptures of classical mythology

Category:Sculptures by François Duquesnoy

who had commissioned the ''Mercury'' from Duquesnoy


Apollo and Cupid

Prompt: Explain the Sculpture of this artwork, Apollo and Cupid.

According to Bellori, whilst this bronze is indeed a pendant to Duquesnoy's Mercury, it was designed several years later by the Fiammingo. Indeed, the sculpture was not realized for Vincenzo Giustiniani (the Greek sculpture enthusiast who had commissioned the Mercury from Duquesnoy) but for another patron. Further, a different dating for the two sculptures is suggested by stylistic differences. Duquesnoy's Apollo and Cupid is first recorded in and inventory of Karl Eusebius, Prince of Liechtenstein at Feldsberg. It has been suggested that Karl Eusebius commissioned this oeuvre himself.The subject of the sculpture has been determined to be Apollo instructing Cupid how to shoot an arrow, with Cupid depicted while imitating him. The god leans on a tree stump, "in a graceful contrapposto that echoes that of the Mercury, but without its backward tilt." Apollo originally held a bow in his left hand. With his right hand, Apollo instructs Cupid to extract a bow from his quiver. According to the Liechtenstein Museum Press, "Duquesnoy gave his figures a softly chased surface and a subtle modulation that creates a gentle interplay of light and shade."Together with the Mercury, the bronze was greatly admired by Austrian sculptor Georg Rafael Donner, who copied Duquesnoy's bronzes. Duquesnoy's authorship was forgotten in the eighteenth century, and the work was thought to be an antique.

Category:Sculptures of classical mythology

Category:Sculptures by François Duquesnoy

who had commissioned the ''Mercury'' from Duquesnoy


Apollo and Cupid

Prompt: How does Apollo and Cupid explain its Sculpture?

According to Bellori, whilst this bronze is indeed a pendant to Duquesnoy's Mercury, it was designed several years later by the Fiammingo. Indeed, the sculpture was not realized for Vincenzo Giustiniani (the Greek sculpture enthusiast who had commissioned the Mercury from Duquesnoy) but for another patron. Further, a different dating for the two sculptures is suggested by stylistic differences. Duquesnoy's Apollo and Cupid is first recorded in and inventory of Karl Eusebius, Prince of Liechtenstein at Feldsberg. It has been suggested that Karl Eusebius commissioned this oeuvre himself.The subject of the sculpture has been determined to be Apollo instructing Cupid how to shoot an arrow, with Cupid depicted while imitating him. The god leans on a tree stump, "in a graceful contrapposto that echoes that of the Mercury, but without its backward tilt." Apollo originally held a bow in his left hand. With his right hand, Apollo instructs Cupid to extract a bow from his quiver. According to the Liechtenstein Museum Press, "Duquesnoy gave his figures a softly chased surface and a subtle modulation that creates a gentle interplay of light and shade."Together with the Mercury, the bronze was greatly admired by Austrian sculptor Georg Rafael Donner, who copied Duquesnoy's bronzes. Duquesnoy's authorship was forgotten in the eighteenth century, and the work was thought to be an antique.

Category:Sculptures of classical mythology

Category:Sculptures by François Duquesnoy

who had commissioned the ''Mercury'' from Duquesnoy


Apollo and Cupid

Prompt: In Apollo and Cupid, how is the Sculpture discussed?

According to Bellori, whilst this bronze is indeed a pendant to Duquesnoy's Mercury, it was designed several years later by the Fiammingo. Indeed, the sculpture was not realized for Vincenzo Giustiniani (the Greek sculpture enthusiast who had commissioned the Mercury from Duquesnoy) but for another patron. Further, a different dating for the two sculptures is suggested by stylistic differences. Duquesnoy's Apollo and Cupid is first recorded in and inventory of Karl Eusebius, Prince of Liechtenstein at Feldsberg. It has been suggested that Karl Eusebius commissioned this oeuvre himself.The subject of the sculpture has been determined to be Apollo instructing Cupid how to shoot an arrow, with Cupid depicted while imitating him. The god leans on a tree stump, "in a graceful contrapposto that echoes that of the Mercury, but without its backward tilt." Apollo originally held a bow in his left hand. With his right hand, Apollo instructs Cupid to extract a bow from his quiver. According to the Liechtenstein Museum Press, "Duquesnoy gave his figures a softly chased surface and a subtle modulation that creates a gentle interplay of light and shade."Together with the Mercury, the bronze was greatly admired by Austrian sculptor Georg Rafael Donner, who copied Duquesnoy's bronzes. Duquesnoy's authorship was forgotten in the eighteenth century, and the work was thought to be an antique.

Category:Sculptures of classical mythology

Category:Sculptures by François Duquesnoy

who had commissioned the ''Mercury'' from Duquesnoy


Margaret MacDonald Memorial

Prompt: Focus on Margaret MacDonald Memorial and explain the abstract.

The Margaret MacDonald Memorial is a sculpture by Richard Reginald Goulden, beside the path at the north edge of the public park at Lincoln's Inn Fields, London. It became a grade II listed structure in 1974.Margaret Ethel MacDonald (1870–1911) was a British feminist and social reformer, and the wife of the Labour politician Ramsay MacDonald. The couple lived at 3 Lincoln's Inn Fields, and had six children.  She died from blood poisoning in 1911, many years before he became the Labour Party's first prime minister in 1924.The memorial comprises a public seat within an alcove created by a granite surround, on which is mounted a bronze sculptural group portraying MacDonald kneeling with her arms outstretched protectively around a group of nine cherubic infant children who are laughing and playing. An inscription carved below the top edge of the stone surround reads: THIS SEAT IS IN MEMORY OF MARGARET MACDONALD WHO SPENT HER LIFE IN HELPING OTHERS.A bronze plaque mounted on the back of the seat list biographical details of her birth, marriage, and life: SHE WAS THE DAUGHTER OF JOHN & MARGARET GLADSTONE / SHE WAS BORN IN KENSINGTON IN 1870 · WAS MARRIED TO / RAMSAY MACDONALD IN 1896 AND LIVED WITH HIM AT / 3 LINCOLN'S INN FIELDS ·· HERE HER CHILDREN WERE / BORN AND HERE SHE DIED IN 1911 · SHE BROUGHT JOY / TO THOSE WITH WHOM AND FOR WHOM SHE LIVED AND / WORKED · HER HEART WENT OUT IN FELLOWSHIP TO HER / FELLOW WOMEN & IN LOVE TO THE CHILDREN OF THE PEOPLE / WHOM SHE SERVED AS A CITIZEN AND HELPED AS A SISTER · / SHE QUICKENED FAITH AND ZEAL IN OTHERS BY HER LIFE AND / TOOK NO REST FROM DOING GOOD.The bronze sculpture was made by Goulden, to a design which has been attributed to MacDonald's widower, and cast at A. B. Burton's foundry in Thames Ditton. It was made c. 1911 and unveiled in Lincoln's Inn Fields in December 1914, close to Sir John Soane's Museum at 13 Lincoln's Inn Fields. Goulden's obituary in The Times in August 1932 listed it among his three most outstanding works in London, alongside the Bank of England War Memorial and the St Michael Cornhill War Memorial, and a review of his memorial exhibition in April 1933 described it as "one of the most completely satisfying recent monuments in London".

Category:Grade II listed buildings in the London Borough of Camden

Category:Sculptures of children in London

File:Margaret MacDonald Lincolns Inn Fields Richard Reginald Goulden 01.JPG


Margaret MacDonald Memorial

Prompt: Explain the abstract of this artwork, Margaret MacDonald Memorial.

The Margaret MacDonald Memorial is a sculpture by Richard Reginald Goulden, beside the path at the north edge of the public park at Lincoln's Inn Fields, London. It became a grade II listed structure in 1974.Margaret Ethel MacDonald (1870–1911) was a British feminist and social reformer, and the wife of the Labour politician Ramsay MacDonald. The couple lived at 3 Lincoln's Inn Fields, and had six children.  She died from blood poisoning in 1911, many years before he became the Labour Party's first prime minister in 1924.The memorial comprises a public seat within an alcove created by a granite surround, on which is mounted a bronze sculptural group portraying MacDonald kneeling with her arms outstretched protectively around a group of nine cherubic infant children who are laughing and playing. An inscription carved below the top edge of the stone surround reads: THIS SEAT IS IN MEMORY OF MARGARET MACDONALD WHO SPENT HER LIFE IN HELPING OTHERS.A bronze plaque mounted on the back of the seat list biographical details of her birth, marriage, and life: SHE WAS THE DAUGHTER OF JOHN & MARGARET GLADSTONE / SHE WAS BORN IN KENSINGTON IN 1870 · WAS MARRIED TO / RAMSAY MACDONALD IN 1896 AND LIVED WITH HIM AT / 3 LINCOLN'S INN FIELDS ·· HERE HER CHILDREN WERE / BORN AND HERE SHE DIED IN 1911 · SHE BROUGHT JOY / TO THOSE WITH WHOM AND FOR WHOM SHE LIVED AND / WORKED · HER HEART WENT OUT IN FELLOWSHIP TO HER / FELLOW WOMEN & IN LOVE TO THE CHILDREN OF THE PEOPLE / WHOM SHE SERVED AS A CITIZEN AND HELPED AS A SISTER · / SHE QUICKENED FAITH AND ZEAL IN OTHERS BY HER LIFE AND / TOOK NO REST FROM DOING GOOD.The bronze sculpture was made by Goulden, to a design which has been attributed to MacDonald's widower, and cast at A. B. Burton's foundry in Thames Ditton. It was made c. 1911 and unveiled in Lincoln's Inn Fields in December 1914, close to Sir John Soane's Museum at 13 Lincoln's Inn Fields. Goulden's obituary in The Times in August 1932 listed it among his three most outstanding works in London, alongside the Bank of England War Memorial and the St Michael Cornhill War Memorial, and a review of his memorial exhibition in April 1933 described it as "one of the most completely satisfying recent monuments in London".

Category:Grade II listed buildings in the London Borough of Camden

Category:Sculptures of children in London

File:Margaret MacDonald Lincolns Inn Fields Richard Reginald Goulden 01.JPG


Margaret MacDonald Memorial

Prompt: How does Margaret MacDonald Memorial explain its abstract?

The Margaret MacDonald Memorial is a sculpture by Richard Reginald Goulden, beside the path at the north edge of the public park at Lincoln's Inn Fields, London. It became a grade II listed structure in 1974.Margaret Ethel MacDonald (1870–1911) was a British feminist and social reformer, and the wife of the Labour politician Ramsay MacDonald. The couple lived at 3 Lincoln's Inn Fields, and had six children.  She died from blood poisoning in 1911, many years before he became the Labour Party's first prime minister in 1924.The memorial comprises a public seat within an alcove created by a granite surround, on which is mounted a bronze sculptural group portraying MacDonald kneeling with her arms outstretched protectively around a group of nine cherubic infant children who are laughing and playing. An inscription carved below the top edge of the stone surround reads: THIS SEAT IS IN MEMORY OF MARGARET MACDONALD WHO SPENT HER LIFE IN HELPING OTHERS.A bronze plaque mounted on the back of the seat list biographical details of her birth, marriage, and life: SHE WAS THE DAUGHTER OF JOHN & MARGARET GLADSTONE / SHE WAS BORN IN KENSINGTON IN 1870 · WAS MARRIED TO / RAMSAY MACDONALD IN 1896 AND LIVED WITH HIM AT / 3 LINCOLN'S INN FIELDS ·· HERE HER CHILDREN WERE / BORN AND HERE SHE DIED IN 1911 · SHE BROUGHT JOY / TO THOSE WITH WHOM AND FOR WHOM SHE LIVED AND / WORKED · HER HEART WENT OUT IN FELLOWSHIP TO HER / FELLOW WOMEN & IN LOVE TO THE CHILDREN OF THE PEOPLE / WHOM SHE SERVED AS A CITIZEN AND HELPED AS A SISTER · / SHE QUICKENED FAITH AND ZEAL IN OTHERS BY HER LIFE AND / TOOK NO REST FROM DOING GOOD.The bronze sculpture was made by Goulden, to a design which has been attributed to MacDonald's widower, and cast at A. B. Burton's foundry in Thames Ditton. It was made c. 1911 and unveiled in Lincoln's Inn Fields in December 1914, close to Sir John Soane's Museum at 13 Lincoln's Inn Fields. Goulden's obituary in The Times in August 1932 listed it among his three most outstanding works in London, alongside the Bank of England War Memorial and the St Michael Cornhill War Memorial, and a review of his memorial exhibition in April 1933 described it as "one of the most completely satisfying recent monuments in London".

Category:Grade II listed buildings in the London Borough of Camden

Category:Sculptures of children in London

File:Margaret MacDonald Lincolns Inn Fields Richard Reginald Goulden 01.JPG


Margaret MacDonald Memorial

Prompt: In Margaret MacDonald Memorial, how is the abstract discussed?

The Margaret MacDonald Memorial is a sculpture by Richard Reginald Goulden, beside the path at the north edge of the public park at Lincoln's Inn Fields, London. It became a grade II listed structure in 1974.Margaret Ethel MacDonald (1870–1911) was a British feminist and social reformer, and the wife of the Labour politician Ramsay MacDonald. The couple lived at 3 Lincoln's Inn Fields, and had six children.  She died from blood poisoning in 1911, many years before he became the Labour Party's first prime minister in 1924.The memorial comprises a public seat within an alcove created by a granite surround, on which is mounted a bronze sculptural group portraying MacDonald kneeling with her arms outstretched protectively around a group of nine cherubic infant children who are laughing and playing. An inscription carved below the top edge of the stone surround reads: THIS SEAT IS IN MEMORY OF MARGARET MACDONALD WHO SPENT HER LIFE IN HELPING OTHERS.A bronze plaque mounted on the back of the seat list biographical details of her birth, marriage, and life: SHE WAS THE DAUGHTER OF JOHN & MARGARET GLADSTONE / SHE WAS BORN IN KENSINGTON IN 1870 · WAS MARRIED TO / RAMSAY MACDONALD IN 1896 AND LIVED WITH HIM AT / 3 LINCOLN'S INN FIELDS ·· HERE HER CHILDREN WERE / BORN AND HERE SHE DIED IN 1911 · SHE BROUGHT JOY / TO THOSE WITH WHOM AND FOR WHOM SHE LIVED AND / WORKED · HER HEART WENT OUT IN FELLOWSHIP TO HER / FELLOW WOMEN & IN LOVE TO THE CHILDREN OF THE PEOPLE / WHOM SHE SERVED AS A CITIZEN AND HELPED AS A SISTER · / SHE QUICKENED FAITH AND ZEAL IN OTHERS BY HER LIFE AND / TOOK NO REST FROM DOING GOOD.The bronze sculpture was made by Goulden, to a design which has been attributed to MacDonald's widower, and cast at A. B. Burton's foundry in Thames Ditton. It was made c. 1911 and unveiled in Lincoln's Inn Fields in December 1914, close to Sir John Soane's Museum at 13 Lincoln's Inn Fields. Goulden's obituary in The Times in August 1932 listed it among his three most outstanding works in London, alongside the Bank of England War Memorial and the St Michael Cornhill War Memorial, and a review of his memorial exhibition in April 1933 described it as "one of the most completely satisfying recent monuments in London".

Category:Grade II listed buildings in the London Borough of Camden

Category:Sculptures of children in London

File:Margaret MacDonald Lincolns Inn Fields Richard Reginald Goulden 01.JPG


Madonna del Padiglione (Botticelli)

Prompt: Focus on Madonna del Padiglione (Botticelli) and explain the abstract.

The Madonna and Child with Three Angels (also known as Madonna del Padiglione) is a painting by the Italian Renaissance master Sandro Botticelli, executed around 1493. It is housed in the Pinacoteca Ambrosiana of Milan.The Virgin Mary is portrayed with her right hand expressing milk from her exposed breast and gesturing to the Child, the latter being supported by an angel. The Italian name (padiglione meaning "pavilion") derives from the rich baldachin over the scene. The open book on a small prie-dieu is a familiar symbol of Christ, the "word [of God] made flesh" (John 1:14) and the Christ child gestures toward the book to signal his identity. The "pavilion" is a reference to the same verse in Gospel of John: "The word became flesh and dwelt among us." In the Greek language of the gospel, the word "dwelt" actually means "tented," a reference to the book of Exodus in the Old Testament where God's glory entered the tabernacle in the wilderness of Sinai: "Then the cloud covered the tent of meeting, and the glory of the Lord filled the tabernacle" (Exodus 40:34). The tabernacle was a movable tent shrine created according to God's directions to hold the Ark of the Covenant, the sacred container of the Ten Commandments, God's words. In this painting, the Virgin Mary is the new Ark of the Covenant since she, like the Ark, contained the Word of God (Leith, 117).  The book and the open tent/pavilion signify the revelation that the Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin.

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of the Madonna and Child by Sandro Botticelli


Madonna del Padiglione (Botticelli)

Prompt: Explain the abstract of this artwork, Madonna del Padiglione (Botticelli).

The Madonna and Child with Three Angels (also known as Madonna del Padiglione) is a painting by the Italian Renaissance master Sandro Botticelli, executed around 1493. It is housed in the Pinacoteca Ambrosiana of Milan.The Virgin Mary is portrayed with her right hand expressing milk from her exposed breast and gesturing to the Child, the latter being supported by an angel. The Italian name (padiglione meaning "pavilion") derives from the rich baldachin over the scene. The open book on a small prie-dieu is a familiar symbol of Christ, the "word [of God] made flesh" (John 1:14) and the Christ child gestures toward the book to signal his identity. The "pavilion" is a reference to the same verse in Gospel of John: "The word became flesh and dwelt among us." In the Greek language of the gospel, the word "dwelt" actually means "tented," a reference to the book of Exodus in the Old Testament where God's glory entered the tabernacle in the wilderness of Sinai: "Then the cloud covered the tent of meeting, and the glory of the Lord filled the tabernacle" (Exodus 40:34). The tabernacle was a movable tent shrine created according to God's directions to hold the Ark of the Covenant, the sacred container of the Ten Commandments, God's words. In this painting, the Virgin Mary is the new Ark of the Covenant since she, like the Ark, contained the Word of God (Leith, 117).  The book and the open tent/pavilion signify the revelation that the Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin.

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of the Madonna and Child by Sandro Botticelli


Madonna del Padiglione (Botticelli)

Prompt: How does Madonna del Padiglione (Botticelli) explain its abstract?

The Madonna and Child with Three Angels (also known as Madonna del Padiglione) is a painting by the Italian Renaissance master Sandro Botticelli, executed around 1493. It is housed in the Pinacoteca Ambrosiana of Milan.The Virgin Mary is portrayed with her right hand expressing milk from her exposed breast and gesturing to the Child, the latter being supported by an angel. The Italian name (padiglione meaning "pavilion") derives from the rich baldachin over the scene. The open book on a small prie-dieu is a familiar symbol of Christ, the "word [of God] made flesh" (John 1:14) and the Christ child gestures toward the book to signal his identity. The "pavilion" is a reference to the same verse in Gospel of John: "The word became flesh and dwelt among us." In the Greek language of the gospel, the word "dwelt" actually means "tented," a reference to the book of Exodus in the Old Testament where God's glory entered the tabernacle in the wilderness of Sinai: "Then the cloud covered the tent of meeting, and the glory of the Lord filled the tabernacle" (Exodus 40:34). The tabernacle was a movable tent shrine created according to God's directions to hold the Ark of the Covenant, the sacred container of the Ten Commandments, God's words. In this painting, the Virgin Mary is the new Ark of the Covenant since she, like the Ark, contained the Word of God (Leith, 117).  The book and the open tent/pavilion signify the revelation that the Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin.

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of the Madonna and Child by Sandro Botticelli


Madonna del Padiglione (Botticelli)

Prompt: In Madonna del Padiglione (Botticelli), how is the abstract discussed?

The Madonna and Child with Three Angels (also known as Madonna del Padiglione) is a painting by the Italian Renaissance master Sandro Botticelli, executed around 1493. It is housed in the Pinacoteca Ambrosiana of Milan.The Virgin Mary is portrayed with her right hand expressing milk from her exposed breast and gesturing to the Child, the latter being supported by an angel. The Italian name (padiglione meaning "pavilion") derives from the rich baldachin over the scene. The open book on a small prie-dieu is a familiar symbol of Christ, the "word [of God] made flesh" (John 1:14) and the Christ child gestures toward the book to signal his identity. The "pavilion" is a reference to the same verse in Gospel of John: "The word became flesh and dwelt among us." In the Greek language of the gospel, the word "dwelt" actually means "tented," a reference to the book of Exodus in the Old Testament where God's glory entered the tabernacle in the wilderness of Sinai: "Then the cloud covered the tent of meeting, and the glory of the Lord filled the tabernacle" (Exodus 40:34). The tabernacle was a movable tent shrine created according to God's directions to hold the Ark of the Covenant, the sacred container of the Ten Commandments, God's words. In this painting, the Virgin Mary is the new Ark of the Covenant since she, like the Ark, contained the Word of God (Leith, 117).  The book and the open tent/pavilion signify the revelation that the Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin.

Category:Paintings in the Pinacoteca Ambrosiana

Category:Paintings of the Madonna and Child by Sandro Botticelli


An Entrance to the Paris Métropolitain

Prompt: Focus on An Entrance to the Paris Métropolitain and explain the abstract.

An Entrance to the Paris Métropolitain is a sculpture by Hector Guimard, conceived in 1902 and fabricated between 1902 and 1913. Guimard designed 141 entrances to the Paris Métro of varying types, 86 of which are still standing. One is featured at the National Gallery of Art Sculpture Garden in Washington, D.C.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: Explain the abstract of this artwork, An Entrance to the Paris Métropolitain.

An Entrance to the Paris Métropolitain is a sculpture by Hector Guimard, conceived in 1902 and fabricated between 1902 and 1913. Guimard designed 141 entrances to the Paris Métro of varying types, 86 of which are still standing. One is featured at the National Gallery of Art Sculpture Garden in Washington, D.C.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: How does An Entrance to the Paris Métropolitain explain its abstract?

An Entrance to the Paris Métropolitain is a sculpture by Hector Guimard, conceived in 1902 and fabricated between 1902 and 1913. Guimard designed 141 entrances to the Paris Métro of varying types, 86 of which are still standing. One is featured at the National Gallery of Art Sculpture Garden in Washington, D.C.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: In An Entrance to the Paris Métropolitain, how is the abstract discussed?

An Entrance to the Paris Métropolitain is a sculpture by Hector Guimard, conceived in 1902 and fabricated between 1902 and 1913. Guimard designed 141 entrances to the Paris Métro of varying types, 86 of which are still standing. One is featured at the National Gallery of Art Sculpture Garden in Washington, D.C.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: In the context of An Entrance to the Paris Métropolitain, explain the Conception and the History.

Before the turn of the century, the French were lacking a public transportation system. During their time of reconstruction during the mid-1800s, London was building their “Underground.” This time would have been ideal for the French to build such a transportation system. City officials did realize at the time, that without a metro system, Paris would suffer in the future. Despite this, Parisians did not like the idea of something so industrial being all over the city. The French were so opposed to the idea of a metro that the first line had to be built entirely underground without ripping up surface streets. Obviously the above ground effect was important to Parisians. This meant that the entrances to the metro had to look good but not overwhelm the surrounding areas.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: Explain the Conception about the History of this artwork, An Entrance to the Paris Métropolitain.

Before the turn of the century, the French were lacking a public transportation system. During their time of reconstruction during the mid-1800s, London was building their “Underground.” This time would have been ideal for the French to build such a transportation system. City officials did realize at the time, that without a metro system, Paris would suffer in the future. Despite this, Parisians did not like the idea of something so industrial being all over the city. The French were so opposed to the idea of a metro that the first line had to be built entirely underground without ripping up surface streets. Obviously the above ground effect was important to Parisians. This meant that the entrances to the metro had to look good but not overwhelm the surrounding areas.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: In An Entrance to the Paris Métropolitain, how is the Conception of the History explained?

Before the turn of the century, the French were lacking a public transportation system. During their time of reconstruction during the mid-1800s, London was building their “Underground.” This time would have been ideal for the French to build such a transportation system. City officials did realize at the time, that without a metro system, Paris would suffer in the future. Despite this, Parisians did not like the idea of something so industrial being all over the city. The French were so opposed to the idea of a metro that the first line had to be built entirely underground without ripping up surface streets. Obviously the above ground effect was important to Parisians. This meant that the entrances to the metro had to look good but not overwhelm the surrounding areas.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: Describe the characteristics of the Conception in An Entrance to the Paris Métropolitain's History.

Before the turn of the century, the French were lacking a public transportation system. During their time of reconstruction during the mid-1800s, London was building their “Underground.” This time would have been ideal for the French to build such a transportation system. City officials did realize at the time, that without a metro system, Paris would suffer in the future. Despite this, Parisians did not like the idea of something so industrial being all over the city. The French were so opposed to the idea of a metro that the first line had to be built entirely underground without ripping up surface streets. Obviously the above ground effect was important to Parisians. This meant that the entrances to the metro had to look good but not overwhelm the surrounding areas.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: In the context of An Entrance to the Paris Métropolitain, explain the Selection of Guimard and the History.

After several designs were refused by the citizens of Paris a compromise was made to make the metro's above ground components a work of art rather than an industrial eyesore. The entrances were said to be sleek and modern, but none of the proposed designs in the past had achieved either of these descriptions. Most of the previous designs had been made to look classical and were too bulky for Paris sidewalks. A contest was held to see who would design the above-ground entrances and stations. The winner, an architecture firm by the name of: Duray, Lemaresquier, and Paumier; however, was not the one who designed the entrances. The decision was overruled by  Adrien Benard, the chairman of the Conseil Municipal de Paris. Instead Hector Guimard, an art nouveau artist who had not entered the contest, won the honor of designing the entrances. He was chosen because of his own take on the “Art Nouveau” style and because his metal designs were cheaper and easier to make than other designs involving masonry and stone. Other than the practical reasons, Guimard's designs, which centered around sleek lines that come from natural curves of plants, were better made with steel. Guimard made different designs of above-ground entrances ranging from grand steel and glass pavilions to the most common type of entrance, a small railing, two lamps, and a sign saying Metropolitain. By 1904, 141 stations were completed, most of which were the most famous type of entrance.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: Explain the Selection of Guimard about the History of this artwork, An Entrance to the Paris Métropolitain.

After several designs were refused by the citizens of Paris a compromise was made to make the metro's above ground components a work of art rather than an industrial eyesore. The entrances were said to be sleek and modern, but none of the proposed designs in the past had achieved either of these descriptions. Most of the previous designs had been made to look classical and were too bulky for Paris sidewalks. A contest was held to see who would design the above-ground entrances and stations. The winner, an architecture firm by the name of: Duray, Lemaresquier, and Paumier; however, was not the one who designed the entrances. The decision was overruled by  Adrien Benard, the chairman of the Conseil Municipal de Paris. Instead Hector Guimard, an art nouveau artist who had not entered the contest, won the honor of designing the entrances. He was chosen because of his own take on the “Art Nouveau” style and because his metal designs were cheaper and easier to make than other designs involving masonry and stone. Other than the practical reasons, Guimard's designs, which centered around sleek lines that come from natural curves of plants, were better made with steel. Guimard made different designs of above-ground entrances ranging from grand steel and glass pavilions to the most common type of entrance, a small railing, two lamps, and a sign saying Metropolitain. By 1904, 141 stations were completed, most of which were the most famous type of entrance.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: In An Entrance to the Paris Métropolitain, how is the Selection of Guimard of the History explained?

After several designs were refused by the citizens of Paris a compromise was made to make the metro's above ground components a work of art rather than an industrial eyesore. The entrances were said to be sleek and modern, but none of the proposed designs in the past had achieved either of these descriptions. Most of the previous designs had been made to look classical and were too bulky for Paris sidewalks. A contest was held to see who would design the above-ground entrances and stations. The winner, an architecture firm by the name of: Duray, Lemaresquier, and Paumier; however, was not the one who designed the entrances. The decision was overruled by  Adrien Benard, the chairman of the Conseil Municipal de Paris. Instead Hector Guimard, an art nouveau artist who had not entered the contest, won the honor of designing the entrances. He was chosen because of his own take on the “Art Nouveau” style and because his metal designs were cheaper and easier to make than other designs involving masonry and stone. Other than the practical reasons, Guimard's designs, which centered around sleek lines that come from natural curves of plants, were better made with steel. Guimard made different designs of above-ground entrances ranging from grand steel and glass pavilions to the most common type of entrance, a small railing, two lamps, and a sign saying Metropolitain. By 1904, 141 stations were completed, most of which were the most famous type of entrance.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: Describe the characteristics of the Selection of Guimard in An Entrance to the Paris Métropolitain's History.

After several designs were refused by the citizens of Paris a compromise was made to make the metro's above ground components a work of art rather than an industrial eyesore. The entrances were said to be sleek and modern, but none of the proposed designs in the past had achieved either of these descriptions. Most of the previous designs had been made to look classical and were too bulky for Paris sidewalks. A contest was held to see who would design the above-ground entrances and stations. The winner, an architecture firm by the name of: Duray, Lemaresquier, and Paumier; however, was not the one who designed the entrances. The decision was overruled by  Adrien Benard, the chairman of the Conseil Municipal de Paris. Instead Hector Guimard, an art nouveau artist who had not entered the contest, won the honor of designing the entrances. He was chosen because of his own take on the “Art Nouveau” style and because his metal designs were cheaper and easier to make than other designs involving masonry and stone. Other than the practical reasons, Guimard's designs, which centered around sleek lines that come from natural curves of plants, were better made with steel. Guimard made different designs of above-ground entrances ranging from grand steel and glass pavilions to the most common type of entrance, a small railing, two lamps, and a sign saying Metropolitain. By 1904, 141 stations were completed, most of which were the most famous type of entrance.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: In the context of An Entrance to the Paris Métropolitain, explain the Later history and the History.

Parisians did not necessarily like the entrances. In fact they called the font which Guimard himself designed “un-French.” Parisians also called the green on the entrance “german.” Despite the bad reception from Parisians, the entrances were kept up rather than being taken down because of popular opinion. All of the entrances were above ground, outdoors. Because of this, they had to endure the sun, rain and all of the damages that come with the elements. Many of the entrances began peeling, fading, and falling into disrepair. Many of the entrances were taken down before the Art Nouveau style was considered worthy to preserve. Right now, only 86 of the original 141 entrances remain in use. The ones that were not taken down had been repaired and repainted so many times that they bore little resemblance to the originals. Parisians eventually grew to love the entrances as a symbol of Paris.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: Explain the Later history about the History of this artwork, An Entrance to the Paris Métropolitain.

Parisians did not necessarily like the entrances. In fact they called the font which Guimard himself designed “un-French.” Parisians also called the green on the entrance “german.” Despite the bad reception from Parisians, the entrances were kept up rather than being taken down because of popular opinion. All of the entrances were above ground, outdoors. Because of this, they had to endure the sun, rain and all of the damages that come with the elements. Many of the entrances began peeling, fading, and falling into disrepair. Many of the entrances were taken down before the Art Nouveau style was considered worthy to preserve. Right now, only 86 of the original 141 entrances remain in use. The ones that were not taken down had been repaired and repainted so many times that they bore little resemblance to the originals. Parisians eventually grew to love the entrances as a symbol of Paris.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials


An Entrance to the Paris Métropolitain

Prompt: In An Entrance to the Paris Métropolitain, how is the Later history of the History explained?

Parisians did not necessarily like the entrances. In fact they called the font which Guimard himself designed “un-French.” Parisians also called the green on the entrance “german.” Despite the bad reception from Parisians, the entrances were kept up rather than being taken down because of popular opinion. All of the entrances were above ground, outdoors. Because of this, they had to endure the sun, rain and all of the damages that come with the elements. Many of the entrances began peeling, fading, and falling into disrepair. Many of the entrances were taken down before the Art Nouveau style was considered worthy to preserve. Right now, only 86 of the original 141 entrances remain in use. The ones that were not taken down had been repaired and repainted so many times that they bore little resemblance to the originals. Parisians eventually grew to love the entrances as a symbol of Paris.

Category:Art Nouveau architecture in Washington, D.C.

Category:National Gallery of Art Sculpture Garden

Category:Art Nouveau sculptures and memorials