The Story of Maths

Prompt: Explain the Hilbert's tenth problem about the "To Infinity and Beyond" of this artwork, The Story of Maths.

Hilbert's tenth problem asked if there was some universal method that could tell whether any equation had whole number solutions or not. The growing belief was that no so such method was possible yet the question remained, how could you prove that, no matter how ingenious you were, you would never come up with such a method. He mentions Paul Cohen. To answer this Julia Robinson, who created the Robinson Hypothesis which stated that to show that there was no such method all you had to do was cook up one equation whose solutions were a very specific set of numbers: The set of numbers needed to grow exponentially yet still be captured by the equations at the heart of Hilbert's problem. Robinson was unable to find this set. This part of the solution fell to Yuri Matiyasevich who saw how to capture the Fibonacci sequence using the equations at the heart of Hilbert's tenth.

Madhava of Sangamagrama#The value of π (pi)

Category:British English-language television shows

Flagellation of Christ (Piero della Francesca)

History of science and technology in China

The Story of Science: Power, Proof and Passion

Category:BBC television documentaries about science

Category:BBC television documentaries about history

International Congress of Mathematicians

Category:Documentary films about the history of science

Category:2008 British television series endings

Category:British documentary television series

Category:Documentary television series about mathematics

Category:2008 British television series debuts


The Story of Maths

Prompt: In The Story of Maths, how is the Hilbert's tenth problem of the "To Infinity and Beyond" explained?

Hilbert's tenth problem asked if there was some universal method that could tell whether any equation had whole number solutions or not. The growing belief was that no so such method was possible yet the question remained, how could you prove that, no matter how ingenious you were, you would never come up with such a method. He mentions Paul Cohen. To answer this Julia Robinson, who created the Robinson Hypothesis which stated that to show that there was no such method all you had to do was cook up one equation whose solutions were a very specific set of numbers: The set of numbers needed to grow exponentially yet still be captured by the equations at the heart of Hilbert's problem. Robinson was unable to find this set. This part of the solution fell to Yuri Matiyasevich who saw how to capture the Fibonacci sequence using the equations at the heart of Hilbert's tenth.

Madhava of Sangamagrama#The value of π (pi)

Category:British English-language television shows

Flagellation of Christ (Piero della Francesca)

History of science and technology in China

The Story of Science: Power, Proof and Passion

Category:BBC television documentaries about science

Category:BBC television documentaries about history

International Congress of Mathematicians

Category:Documentary films about the history of science

Category:2008 British television series endings

Category:British documentary television series

Category:Documentary television series about mathematics

Category:2008 British television series debuts


The Story of Maths

Prompt: Describe the characteristics of the Hilbert's tenth problem in The Story of Maths's "To Infinity and Beyond".

Hilbert's tenth problem asked if there was some universal method that could tell whether any equation had whole number solutions or not. The growing belief was that no so such method was possible yet the question remained, how could you prove that, no matter how ingenious you were, you would never come up with such a method. He mentions Paul Cohen. To answer this Julia Robinson, who created the Robinson Hypothesis which stated that to show that there was no such method all you had to do was cook up one equation whose solutions were a very specific set of numbers: The set of numbers needed to grow exponentially yet still be captured by the equations at the heart of Hilbert's problem. Robinson was unable to find this set. This part of the solution fell to Yuri Matiyasevich who saw how to capture the Fibonacci sequence using the equations at the heart of Hilbert's tenth.

Madhava of Sangamagrama#The value of π (pi)

Category:British English-language television shows

Flagellation of Christ (Piero della Francesca)

History of science and technology in China

The Story of Science: Power, Proof and Passion

Category:BBC television documentaries about science

Category:BBC television documentaries about history

International Congress of Mathematicians

Category:Documentary films about the history of science

Category:2008 British television series endings

Category:British documentary television series

Category:Documentary television series about mathematics

Category:2008 British television series debuts


The Story of Maths

Prompt: In the context of The Story of Maths, explain the Algebraic geometry and the "To Infinity and Beyond".

The final section briefly covers algebraic geometry. Évariste Galois had refined a new language for mathematics. Galois believed mathematics should be the study of structure as opposed to number and shape. Galois had discovered new techniques to tell whether certain equations could have solutions or not. The symmetry of certain geometric objects was the key. Galois' work was picked up by André Weil who built algebraic geometry, a whole new language. Weil's work connected number theory, algebra, topology and geometry.Finally du Sautoy mentions Weil's part in the creation of the fictional mathematician Nicolas Bourbaki and another contributor to Bourbaki's output - Alexander Grothendieck.

Madhava of Sangamagrama#The value of π (pi)

Category:British English-language television shows

Flagellation of Christ (Piero della Francesca)

History of science and technology in China

The Story of Science: Power, Proof and Passion

Category:BBC television documentaries about science

Category:BBC television documentaries about history

International Congress of Mathematicians

Category:Documentary films about the history of science

Category:2008 British television series endings

Category:British documentary television series

Category:Documentary television series about mathematics

Category:2008 British television series debuts


The Story of Maths

Prompt: Explain the Algebraic geometry about the "To Infinity and Beyond" of this artwork, The Story of Maths.

The final section briefly covers algebraic geometry. Évariste Galois had refined a new language for mathematics. Galois believed mathematics should be the study of structure as opposed to number and shape. Galois had discovered new techniques to tell whether certain equations could have solutions or not. The symmetry of certain geometric objects was the key. Galois' work was picked up by André Weil who built algebraic geometry, a whole new language. Weil's work connected number theory, algebra, topology and geometry.Finally du Sautoy mentions Weil's part in the creation of the fictional mathematician Nicolas Bourbaki and another contributor to Bourbaki's output - Alexander Grothendieck.

Madhava of Sangamagrama#The value of π (pi)

Category:British English-language television shows

Flagellation of Christ (Piero della Francesca)

History of science and technology in China

The Story of Science: Power, Proof and Passion

Category:BBC television documentaries about science

Category:BBC television documentaries about history

International Congress of Mathematicians

Category:Documentary films about the history of science

Category:2008 British television series endings

Category:British documentary television series

Category:Documentary television series about mathematics

Category:2008 British television series debuts


The Story of Maths

Prompt: In The Story of Maths, how is the Algebraic geometry of the "To Infinity and Beyond" explained?

The final section briefly covers algebraic geometry. Évariste Galois had refined a new language for mathematics. Galois believed mathematics should be the study of structure as opposed to number and shape. Galois had discovered new techniques to tell whether certain equations could have solutions or not. The symmetry of certain geometric objects was the key. Galois' work was picked up by André Weil who built algebraic geometry, a whole new language. Weil's work connected number theory, algebra, topology and geometry.Finally du Sautoy mentions Weil's part in the creation of the fictional mathematician Nicolas Bourbaki and another contributor to Bourbaki's output - Alexander Grothendieck.

Madhava of Sangamagrama#The value of π (pi)

Category:British English-language television shows

Flagellation of Christ (Piero della Francesca)

History of science and technology in China

The Story of Science: Power, Proof and Passion

Category:BBC television documentaries about science

Category:BBC television documentaries about history

International Congress of Mathematicians

Category:Documentary films about the history of science

Category:2008 British television series endings

Category:British documentary television series

Category:Documentary television series about mathematics

Category:2008 British television series debuts


The Story of Maths

Prompt: Describe the characteristics of the Algebraic geometry in The Story of Maths's "To Infinity and Beyond".

The final section briefly covers algebraic geometry. Évariste Galois had refined a new language for mathematics. Galois believed mathematics should be the study of structure as opposed to number and shape. Galois had discovered new techniques to tell whether certain equations could have solutions or not. The symmetry of certain geometric objects was the key. Galois' work was picked up by André Weil who built algebraic geometry, a whole new language. Weil's work connected number theory, algebra, topology and geometry.Finally du Sautoy mentions Weil's part in the creation of the fictional mathematician Nicolas Bourbaki and another contributor to Bourbaki's output - Alexander Grothendieck.

Madhava of Sangamagrama#The value of π (pi)

Category:British English-language television shows

Flagellation of Christ (Piero della Francesca)

History of science and technology in China

The Story of Science: Power, Proof and Passion

Category:BBC television documentaries about science

Category:BBC television documentaries about history

International Congress of Mathematicians

Category:Documentary films about the history of science

Category:2008 British television series endings

Category:British documentary television series

Category:Documentary television series about mathematics

Category:2008 British television series debuts


Chiming Fountain

Prompt: Focus on Chiming Fountain and explain the abstract.

The Chiming Fountain, also known as Cupid's Fountain, the John Staehli Fountain, Portland's City Park Fountain and Washington Park Fountain, is an outdoor cast iron fountain and sculpture built in 1891 by John "Hans" Staehli. It is installed in Washington Park in Portland, Oregon, United States. The fountain's name derives from the sound made when water drips from the upper basin. Staehli designed the fountain to serve as a watering trough for horses pulling carriages into the park. Based on a Renaissance fountain, it was originally painted white and included a statuette of a boy, possibly depicting Cupid, though the figure was damaged and permanently removed from the sculpture before or during the 1940s.The fountain was restored in 1960, but no longer functioned. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, its water-pumping function has also been restored. Chiming Fountain has been included in published biking and walking tours of Portland and has been mentioned as a highlight of Washington Park in guides recommending family-friendly activities in the city.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

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

The Chiming Fountain, also known as Cupid's Fountain, the John Staehli Fountain, Portland's City Park Fountain and Washington Park Fountain, is an outdoor cast iron fountain and sculpture built in 1891 by John "Hans" Staehli. It is installed in Washington Park in Portland, Oregon, United States. The fountain's name derives from the sound made when water drips from the upper basin. Staehli designed the fountain to serve as a watering trough for horses pulling carriages into the park. Based on a Renaissance fountain, it was originally painted white and included a statuette of a boy, possibly depicting Cupid, though the figure was damaged and permanently removed from the sculpture before or during the 1940s.The fountain was restored in 1960, but no longer functioned. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, its water-pumping function has also been restored. Chiming Fountain has been included in published biking and walking tours of Portland and has been mentioned as a highlight of Washington Park in guides recommending family-friendly activities in the city.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: How does Chiming Fountain explain its abstract?

The Chiming Fountain, also known as Cupid's Fountain, the John Staehli Fountain, Portland's City Park Fountain and Washington Park Fountain, is an outdoor cast iron fountain and sculpture built in 1891 by John "Hans" Staehli. It is installed in Washington Park in Portland, Oregon, United States. The fountain's name derives from the sound made when water drips from the upper basin. Staehli designed the fountain to serve as a watering trough for horses pulling carriages into the park. Based on a Renaissance fountain, it was originally painted white and included a statuette of a boy, possibly depicting Cupid, though the figure was damaged and permanently removed from the sculpture before or during the 1940s.The fountain was restored in 1960, but no longer functioned. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, its water-pumping function has also been restored. Chiming Fountain has been included in published biking and walking tours of Portland and has been mentioned as a highlight of Washington Park in guides recommending family-friendly activities in the city.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: In Chiming Fountain, how is the abstract discussed?

The Chiming Fountain, also known as Cupid's Fountain, the John Staehli Fountain, Portland's City Park Fountain and Washington Park Fountain, is an outdoor cast iron fountain and sculpture built in 1891 by John "Hans" Staehli. It is installed in Washington Park in Portland, Oregon, United States. The fountain's name derives from the sound made when water drips from the upper basin. Staehli designed the fountain to serve as a watering trough for horses pulling carriages into the park. Based on a Renaissance fountain, it was originally painted white and included a statuette of a boy, possibly depicting Cupid, though the figure was damaged and permanently removed from the sculpture before or during the 1940s.The fountain was restored in 1960, but no longer functioned. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, its water-pumping function has also been restored. Chiming Fountain has been included in published biking and walking tours of Portland and has been mentioned as a highlight of Washington Park in guides recommending family-friendly activities in the city.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: Focus on Chiming Fountain and explain the Description and history.

The decorative fountain is located at the junction of Southwest Sacajawea Boulevard and Southwest Sherwood Boulevard in the main circle of Washington Park. It was designed by John "Hans" Staehli, a woodcarver from Switzerland who immigrated to Portland and was known for his decorative carvings of churches. The fountain was commissioned by the city in 1891 for $400 and completed by Staehli later that year, becoming the city's second piece of public art. It served as a watering trough for horses pulling carriages into the park. The fountain has been given many different names, but is most commonly referred to as Chiming Fountain, in reference to the sound made by water dripping from the upper basin.The fountain is made of cast iron and measures approximately 12 feet (3.7 m) tall with a 7-foot (2.1 m) diameter. It has a pedestal and two round bronze basins separated by a narrow post, and stands in an octagonal concrete base which served as a retaining pool. The pedestal has four horned gargoyle-like figures. On the bottom of the pedestal's west side is an unsigned inscription which reads: "J. Staehli/Portland, Org./64 Second St."Staehli's design is based on a Renaissance fountain and was originally painted white. The central post originally held a figure of a boy carrying a staff (or possibly a fish or a torch) from which water spouted. Some sources suggest the figure depicted Cupid, hence one of the fountain's nicknames, "Cupid's Fountain". According to Portland Parks & Recreation, the figure was last recorded in 1912 in a photograph of Willis McElroy's band in the nearby bandstand. However, in the 1920s, freezing weather expanded water in the fountain, damaging the figure. The boy statuette was removed from the fountain and discarded by the 1940s, and it was not replaced.The city planned to remove the fountain in 1960 due to disrepair. However, Mayor Terry Schrunk instructed the parks bureau to begin a restoration after Francis J. Murnane, a local longshoreman and advocate for historic preservation, appealed its removal. Much of its original decoration was absent, so replicas of existing pieces were constructed at a cost of $450. The restoration cost around $1,775, including assembly and installation. Despite its restoration, the fountain was no longer functional. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, the fountain's plumbing has been restored. According to Smithsonian, the fountain is administered by the City of Portland's Metropolitan Arts Commission.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: Explain the Description and history of this artwork, Chiming Fountain.

The decorative fountain is located at the junction of Southwest Sacajawea Boulevard and Southwest Sherwood Boulevard in the main circle of Washington Park. It was designed by John "Hans" Staehli, a woodcarver from Switzerland who immigrated to Portland and was known for his decorative carvings of churches. The fountain was commissioned by the city in 1891 for $400 and completed by Staehli later that year, becoming the city's second piece of public art. It served as a watering trough for horses pulling carriages into the park. The fountain has been given many different names, but is most commonly referred to as Chiming Fountain, in reference to the sound made by water dripping from the upper basin.The fountain is made of cast iron and measures approximately 12 feet (3.7 m) tall with a 7-foot (2.1 m) diameter. It has a pedestal and two round bronze basins separated by a narrow post, and stands in an octagonal concrete base which served as a retaining pool. The pedestal has four horned gargoyle-like figures. On the bottom of the pedestal's west side is an unsigned inscription which reads: "J. Staehli/Portland, Org./64 Second St."Staehli's design is based on a Renaissance fountain and was originally painted white. The central post originally held a figure of a boy carrying a staff (or possibly a fish or a torch) from which water spouted. Some sources suggest the figure depicted Cupid, hence one of the fountain's nicknames, "Cupid's Fountain". According to Portland Parks & Recreation, the figure was last recorded in 1912 in a photograph of Willis McElroy's band in the nearby bandstand. However, in the 1920s, freezing weather expanded water in the fountain, damaging the figure. The boy statuette was removed from the fountain and discarded by the 1940s, and it was not replaced.The city planned to remove the fountain in 1960 due to disrepair. However, Mayor Terry Schrunk instructed the parks bureau to begin a restoration after Francis J. Murnane, a local longshoreman and advocate for historic preservation, appealed its removal. Much of its original decoration was absent, so replicas of existing pieces were constructed at a cost of $450. The restoration cost around $1,775, including assembly and installation. Despite its restoration, the fountain was no longer functional. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, the fountain's plumbing has been restored. According to Smithsonian, the fountain is administered by the City of Portland's Metropolitan Arts Commission.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: How does Chiming Fountain explain its Description and history?

The decorative fountain is located at the junction of Southwest Sacajawea Boulevard and Southwest Sherwood Boulevard in the main circle of Washington Park. It was designed by John "Hans" Staehli, a woodcarver from Switzerland who immigrated to Portland and was known for his decorative carvings of churches. The fountain was commissioned by the city in 1891 for $400 and completed by Staehli later that year, becoming the city's second piece of public art. It served as a watering trough for horses pulling carriages into the park. The fountain has been given many different names, but is most commonly referred to as Chiming Fountain, in reference to the sound made by water dripping from the upper basin.The fountain is made of cast iron and measures approximately 12 feet (3.7 m) tall with a 7-foot (2.1 m) diameter. It has a pedestal and two round bronze basins separated by a narrow post, and stands in an octagonal concrete base which served as a retaining pool. The pedestal has four horned gargoyle-like figures. On the bottom of the pedestal's west side is an unsigned inscription which reads: "J. Staehli/Portland, Org./64 Second St."Staehli's design is based on a Renaissance fountain and was originally painted white. The central post originally held a figure of a boy carrying a staff (or possibly a fish or a torch) from which water spouted. Some sources suggest the figure depicted Cupid, hence one of the fountain's nicknames, "Cupid's Fountain". According to Portland Parks & Recreation, the figure was last recorded in 1912 in a photograph of Willis McElroy's band in the nearby bandstand. However, in the 1920s, freezing weather expanded water in the fountain, damaging the figure. The boy statuette was removed from the fountain and discarded by the 1940s, and it was not replaced.The city planned to remove the fountain in 1960 due to disrepair. However, Mayor Terry Schrunk instructed the parks bureau to begin a restoration after Francis J. Murnane, a local longshoreman and advocate for historic preservation, appealed its removal. Much of its original decoration was absent, so replicas of existing pieces were constructed at a cost of $450. The restoration cost around $1,775, including assembly and installation. Despite its restoration, the fountain was no longer functional. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, the fountain's plumbing has been restored. According to Smithsonian, the fountain is administered by the City of Portland's Metropolitan Arts Commission.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: In Chiming Fountain, how is the Description and history discussed?

The decorative fountain is located at the junction of Southwest Sacajawea Boulevard and Southwest Sherwood Boulevard in the main circle of Washington Park. It was designed by John "Hans" Staehli, a woodcarver from Switzerland who immigrated to Portland and was known for his decorative carvings of churches. The fountain was commissioned by the city in 1891 for $400 and completed by Staehli later that year, becoming the city's second piece of public art. It served as a watering trough for horses pulling carriages into the park. The fountain has been given many different names, but is most commonly referred to as Chiming Fountain, in reference to the sound made by water dripping from the upper basin.The fountain is made of cast iron and measures approximately 12 feet (3.7 m) tall with a 7-foot (2.1 m) diameter. It has a pedestal and two round bronze basins separated by a narrow post, and stands in an octagonal concrete base which served as a retaining pool. The pedestal has four horned gargoyle-like figures. On the bottom of the pedestal's west side is an unsigned inscription which reads: "J. Staehli/Portland, Org./64 Second St."Staehli's design is based on a Renaissance fountain and was originally painted white. The central post originally held a figure of a boy carrying a staff (or possibly a fish or a torch) from which water spouted. Some sources suggest the figure depicted Cupid, hence one of the fountain's nicknames, "Cupid's Fountain". According to Portland Parks & Recreation, the figure was last recorded in 1912 in a photograph of Willis McElroy's band in the nearby bandstand. However, in the 1920s, freezing weather expanded water in the fountain, damaging the figure. The boy statuette was removed from the fountain and discarded by the 1940s, and it was not replaced.The city planned to remove the fountain in 1960 due to disrepair. However, Mayor Terry Schrunk instructed the parks bureau to begin a restoration after Francis J. Murnane, a local longshoreman and advocate for historic preservation, appealed its removal. Much of its original decoration was absent, so replicas of existing pieces were constructed at a cost of $450. The restoration cost around $1,775, including assembly and installation. Despite its restoration, the fountain was no longer functional. Its condition was deemed "treatment urgent" by the Smithsonian Institution's "Save Outdoor Sculpture!" program in February 1994. Since then, the fountain's plumbing has been restored. According to Smithsonian, the fountain is administered by the City of Portland's Metropolitan Arts Commission.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: Focus on Chiming Fountain and explain the Reception.

The fountain has been included in published biking and walking tours of the city, including one which described it as "elegant". It was also mentioned as a highlight of Washington Park in the 2010 guidebook Best Places: Portland and by Delta Sky Magazine. Similarly, Chiming Fountain has been included in descriptions of the park in guides recommending child-friendly activities and sites in the city. These guides include the website TravelforKids.com and the 2009 book The 10 Best of Everything Families: An Ultimate Guide for Travelers, which listed Washington Park as one of the ten "Best Parks and Playgrounds" in the Northwestern United States.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: Explain the Reception of this artwork, Chiming Fountain.

The fountain has been included in published biking and walking tours of the city, including one which described it as "elegant". It was also mentioned as a highlight of Washington Park in the 2010 guidebook Best Places: Portland and by Delta Sky Magazine. Similarly, Chiming Fountain has been included in descriptions of the park in guides recommending child-friendly activities and sites in the city. These guides include the website TravelforKids.com and the 2009 book The 10 Best of Everything Families: An Ultimate Guide for Travelers, which listed Washington Park as one of the ten "Best Parks and Playgrounds" in the Northwestern United States.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: How does Chiming Fountain explain its Reception?

The fountain has been included in published biking and walking tours of the city, including one which described it as "elegant". It was also mentioned as a highlight of Washington Park in the 2010 guidebook Best Places: Portland and by Delta Sky Magazine. Similarly, Chiming Fountain has been included in descriptions of the park in guides recommending child-friendly activities and sites in the city. These guides include the website TravelforKids.com and the 2009 book The 10 Best of Everything Families: An Ultimate Guide for Travelers, which listed Washington Park as one of the ten "Best Parks and Playgrounds" in the Northwestern United States.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Chiming Fountain

Prompt: In Chiming Fountain, how is the Reception discussed?

The fountain has been included in published biking and walking tours of the city, including one which described it as "elegant". It was also mentioned as a highlight of Washington Park in the 2010 guidebook Best Places: Portland and by Delta Sky Magazine. Similarly, Chiming Fountain has been included in descriptions of the park in guides recommending child-friendly activities and sites in the city. These guides include the website TravelforKids.com and the 2009 book The 10 Best of Everything Families: An Ultimate Guide for Travelers, which listed Washington Park as one of the ten "Best Parks and Playgrounds" in the Northwestern United States.

Category:Iron sculptures in the United States

Category:Washington Park (Portland, Oregon)

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

Category:Cast-iron architecture in the United States


Portrait of Luca Pacioli

Prompt: Focus on Portrait of Luca Pacioli and explain the abstract.

The Portrait of Luca Pacioli is a painting attributed to the Italian Renaissance artist Jacopo de' Barbari, dating to around 1500 and housed in the Capodimonte Museum, Naples, southern Italy. The painting portrays the Renaissance mathematician Luca Pacioli and may have been (at least partially) painted by his collaborator Leonardo da Vinci. The person on the right has not been identified conclusively, but could be the German painter Albrecht Dürer, whom Barbari met between 1495 and 1500.

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: Explain the abstract of this artwork, Portrait of Luca Pacioli.

The Portrait of Luca Pacioli is a painting attributed to the Italian Renaissance artist Jacopo de' Barbari, dating to around 1500 and housed in the Capodimonte Museum, Naples, southern Italy. The painting portrays the Renaissance mathematician Luca Pacioli and may have been (at least partially) painted by his collaborator Leonardo da Vinci. The person on the right has not been identified conclusively, but could be the German painter Albrecht Dürer, whom Barbari met between 1495 and 1500.

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: How does Portrait of Luca Pacioli explain its abstract?

The Portrait of Luca Pacioli is a painting attributed to the Italian Renaissance artist Jacopo de' Barbari, dating to around 1500 and housed in the Capodimonte Museum, Naples, southern Italy. The painting portrays the Renaissance mathematician Luca Pacioli and may have been (at least partially) painted by his collaborator Leonardo da Vinci. The person on the right has not been identified conclusively, but could be the German painter Albrecht Dürer, whom Barbari met between 1495 and 1500.

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: In Portrait of Luca Pacioli, how is the abstract discussed?

The Portrait of Luca Pacioli is a painting attributed to the Italian Renaissance artist Jacopo de' Barbari, dating to around 1500 and housed in the Capodimonte Museum, Naples, southern Italy. The painting portrays the Renaissance mathematician Luca Pacioli and may have been (at least partially) painted by his collaborator Leonardo da Vinci. The person on the right has not been identified conclusively, but could be the German painter Albrecht Dürer, whom Barbari met between 1495 and 1500.

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: Focus on Portrait of Luca Pacioli and explain the History.

The painting is mentioned for the first time in a 1631 inventory of the Ducal Palace of Urbino.It was later moved to Florence through Vittoria della Rovere-Medici, belonging to both the reigning dynasties of Urbino and Tuscany. The painting reappeared in the 19th century, as a property of the Ottaviano branch of the Medicis. It was subsequently acquired by the Italian state to prevent its being sold to England.

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: Explain the History of this artwork, Portrait of Luca Pacioli.

The painting is mentioned for the first time in a 1631 inventory of the Ducal Palace of Urbino.It was later moved to Florence through Vittoria della Rovere-Medici, belonging to both the reigning dynasties of Urbino and Tuscany. The painting reappeared in the 19th century, as a property of the Ottaviano branch of the Medicis. It was subsequently acquired by the Italian state to prevent its being sold to England.

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: How does Portrait of Luca Pacioli explain its History?

The painting is mentioned for the first time in a 1631 inventory of the Ducal Palace of Urbino.It was later moved to Florence through Vittoria della Rovere-Medici, belonging to both the reigning dynasties of Urbino and Tuscany. The painting reappeared in the 19th century, as a property of the Ottaviano branch of the Medicis. It was subsequently acquired by the Italian state to prevent its being sold to England.

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: In Portrait of Luca Pacioli, how is the History discussed?

The painting is mentioned for the first time in a 1631 inventory of the Ducal Palace of Urbino.It was later moved to Florence through Vittoria della Rovere-Medici, belonging to both the reigning dynasties of Urbino and Tuscany. The painting reappeared in the 19th century, as a property of the Ottaviano branch of the Medicis. It was subsequently acquired by the Italian state to prevent its being sold to England.

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: Focus on Portrait of Luca Pacioli and explain the Attribution.

The painting has been generally attributed to Jacopo de' Barbari due to the presence of a cartouche with the inscription IACO.BAR. VIGENNIS. P. 1495, but the attribution to the Venetian painter has been questioned. Some attribute the painting to Leonardo da Vinci, who began collaborating with Pacioli when the latter moved to Milan in 1496. For the next two years, Leonardo illustrated Archimedean solids, including the rhombicuboctahedron, in Pacioli's Divina proportione. According to one scholar, in the rhombicuboctahedron featured in the portrait "we surely see the ineffable left hand of Leonardo da Vinci, who drew the superb pictures for De divina proportione, which, moreover, hang from a string in the originals." The same source points out that the dodecahedron in the portrait seems to be drawn by a less-skilled hand, implying that the portrait was created over multiple sittings and possibly by more than one artist. Leonardo records that on 3 August 1504, "Jacopo the German came to live with me in the house."

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: Explain the Attribution of this artwork, Portrait of Luca Pacioli.

The painting has been generally attributed to Jacopo de' Barbari due to the presence of a cartouche with the inscription IACO.BAR. VIGENNIS. P. 1495, but the attribution to the Venetian painter has been questioned. Some attribute the painting to Leonardo da Vinci, who began collaborating with Pacioli when the latter moved to Milan in 1496. For the next two years, Leonardo illustrated Archimedean solids, including the rhombicuboctahedron, in Pacioli's Divina proportione. According to one scholar, in the rhombicuboctahedron featured in the portrait "we surely see the ineffable left hand of Leonardo da Vinci, who drew the superb pictures for De divina proportione, which, moreover, hang from a string in the originals." The same source points out that the dodecahedron in the portrait seems to be drawn by a less-skilled hand, implying that the portrait was created over multiple sittings and possibly by more than one artist. Leonardo records that on 3 August 1504, "Jacopo the German came to live with me in the house."

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: How does Portrait of Luca Pacioli explain its Attribution?

The painting has been generally attributed to Jacopo de' Barbari due to the presence of a cartouche with the inscription IACO.BAR. VIGENNIS. P. 1495, but the attribution to the Venetian painter has been questioned. Some attribute the painting to Leonardo da Vinci, who began collaborating with Pacioli when the latter moved to Milan in 1496. For the next two years, Leonardo illustrated Archimedean solids, including the rhombicuboctahedron, in Pacioli's Divina proportione. According to one scholar, in the rhombicuboctahedron featured in the portrait "we surely see the ineffable left hand of Leonardo da Vinci, who drew the superb pictures for De divina proportione, which, moreover, hang from a string in the originals." The same source points out that the dodecahedron in the portrait seems to be drawn by a less-skilled hand, implying that the portrait was created over multiple sittings and possibly by more than one artist. Leonardo records that on 3 August 1504, "Jacopo the German came to live with me in the house."

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: In Portrait of Luca Pacioli, how is the Attribution discussed?

The painting has been generally attributed to Jacopo de' Barbari due to the presence of a cartouche with the inscription IACO.BAR. VIGENNIS. P. 1495, but the attribution to the Venetian painter has been questioned. Some attribute the painting to Leonardo da Vinci, who began collaborating with Pacioli when the latter moved to Milan in 1496. For the next two years, Leonardo illustrated Archimedean solids, including the rhombicuboctahedron, in Pacioli's Divina proportione. According to one scholar, in the rhombicuboctahedron featured in the portrait "we surely see the ineffable left hand of Leonardo da Vinci, who drew the superb pictures for De divina proportione, which, moreover, hang from a string in the originals." The same source points out that the dodecahedron in the portrait seems to be drawn by a less-skilled hand, implying that the portrait was created over multiple sittings and possibly by more than one artist. Leonardo records that on 3 August 1504, "Jacopo the German came to live with me in the house."

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: Focus on Portrait of Luca Pacioli and explain the Description.

The painting portrays the friar and mathematician with a table filled with geometrical tools: slate, chalk, compass, a dodecahedron model. A rhombicuboctahedron, half-filled with water and characterized by a detailed triple reflection effect of the Ducal Palace of Urbino, is suspended from the ceiling.  Pacioli is demonstrating a theorem by Euclid written in an open book. The closed book, with the inscription LI.RI.LUC.BUR. ('Liber reverendi Luca Burgensis') is supposed to be his Summary of arithmetic, geometry, proportions and proportionality (1494).The person on the right has not been identified conclusively; he could be the German painter Albrecht Dürer. As early as his first trip to Italy (1494–1495), Dürer became aware of theories of proportion put forth by Barbari. According to Dürer's notes, he met Barbari sometime between 1495 and 1500; Barbari in turn led Dürer to Luca Pacioli's work on mathematics and art. Dürer wrote in October 1506 (during his second trip to Italy) that he planned to ride from Venice "to Bologna to learn the secrets of the art of perspective, which a man is willing to teach me." Some of Dürer's drawings are similar to that of Pacioli's master Piero della Francesca, but Dürer may have simply encountered both artists by way of Pacioli's book Divina proportione, which Leonardo da Vinci illustrated. Some of the figures in Leonardo's Treatise on Human Proportion also inspired Dürer's Christ among the Doctors, painted in Venice in 1506.The researcher Glori in 2020 published her ten-years research focused on  the cartouche with the inscription IACO.BAR.VIGENNIS P.1495, where she summarizes the methodological path followed in order  to prove the scientificity of the decryption of the mysterious cryptogram (see External link to Academia edu).

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg


Portrait of Luca Pacioli

Prompt: Explain the Description of this artwork, Portrait of Luca Pacioli.

The painting portrays the friar and mathematician with a table filled with geometrical tools: slate, chalk, compass, a dodecahedron model. A rhombicuboctahedron, half-filled with water and characterized by a detailed triple reflection effect of the Ducal Palace of Urbino, is suspended from the ceiling.  Pacioli is demonstrating a theorem by Euclid written in an open book. The closed book, with the inscription LI.RI.LUC.BUR. ('Liber reverendi Luca Burgensis') is supposed to be his Summary of arithmetic, geometry, proportions and proportionality (1494).The person on the right has not been identified conclusively; he could be the German painter Albrecht Dürer. As early as his first trip to Italy (1494–1495), Dürer became aware of theories of proportion put forth by Barbari. According to Dürer's notes, he met Barbari sometime between 1495 and 1500; Barbari in turn led Dürer to Luca Pacioli's work on mathematics and art. Dürer wrote in October 1506 (during his second trip to Italy) that he planned to ride from Venice "to Bologna to learn the secrets of the art of perspective, which a man is willing to teach me." Some of Dürer's drawings are similar to that of Pacioli's master Piero della Francesca, but Dürer may have simply encountered both artists by way of Pacioli's book Divina proportione, which Leonardo da Vinci illustrated. Some of the figures in Leonardo's Treatise on Human Proportion also inspired Dürer's Christ among the Doctors, painted in Venice in 1506.The researcher Glori in 2020 published her ten-years research focused on  the cartouche with the inscription IACO.BAR.VIGENNIS P.1495, where she summarizes the methodological path followed in order  to prove the scientificity of the decryption of the mysterious cryptogram (see External link to Academia edu).

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg


Portrait of Luca Pacioli

Prompt: How does Portrait of Luca Pacioli explain its Description?

The painting portrays the friar and mathematician with a table filled with geometrical tools: slate, chalk, compass, a dodecahedron model. A rhombicuboctahedron, half-filled with water and characterized by a detailed triple reflection effect of the Ducal Palace of Urbino, is suspended from the ceiling.  Pacioli is demonstrating a theorem by Euclid written in an open book. The closed book, with the inscription LI.RI.LUC.BUR. ('Liber reverendi Luca Burgensis') is supposed to be his Summary of arithmetic, geometry, proportions and proportionality (1494).The person on the right has not been identified conclusively; he could be the German painter Albrecht Dürer. As early as his first trip to Italy (1494–1495), Dürer became aware of theories of proportion put forth by Barbari. According to Dürer's notes, he met Barbari sometime between 1495 and 1500; Barbari in turn led Dürer to Luca Pacioli's work on mathematics and art. Dürer wrote in October 1506 (during his second trip to Italy) that he planned to ride from Venice "to Bologna to learn the secrets of the art of perspective, which a man is willing to teach me." Some of Dürer's drawings are similar to that of Pacioli's master Piero della Francesca, but Dürer may have simply encountered both artists by way of Pacioli's book Divina proportione, which Leonardo da Vinci illustrated. Some of the figures in Leonardo's Treatise on Human Proportion also inspired Dürer's Christ among the Doctors, painted in Venice in 1506.The researcher Glori in 2020 published her ten-years research focused on  the cartouche with the inscription IACO.BAR.VIGENNIS P.1495, where she summarizes the methodological path followed in order  to prove the scientificity of the decryption of the mysterious cryptogram (see External link to Academia edu).

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg


Portrait of Luca Pacioli

Prompt: In Portrait of Luca Pacioli, how is the Description discussed?

The painting portrays the friar and mathematician with a table filled with geometrical tools: slate, chalk, compass, a dodecahedron model. A rhombicuboctahedron, half-filled with water and characterized by a detailed triple reflection effect of the Ducal Palace of Urbino, is suspended from the ceiling.  Pacioli is demonstrating a theorem by Euclid written in an open book. The closed book, with the inscription LI.RI.LUC.BUR. ('Liber reverendi Luca Burgensis') is supposed to be his Summary of arithmetic, geometry, proportions and proportionality (1494).The person on the right has not been identified conclusively; he could be the German painter Albrecht Dürer. As early as his first trip to Italy (1494–1495), Dürer became aware of theories of proportion put forth by Barbari. According to Dürer's notes, he met Barbari sometime between 1495 and 1500; Barbari in turn led Dürer to Luca Pacioli's work on mathematics and art. Dürer wrote in October 1506 (during his second trip to Italy) that he planned to ride from Venice "to Bologna to learn the secrets of the art of perspective, which a man is willing to teach me." Some of Dürer's drawings are similar to that of Pacioli's master Piero della Francesca, but Dürer may have simply encountered both artists by way of Pacioli's book Divina proportione, which Leonardo da Vinci illustrated. Some of the figures in Leonardo's Treatise on Human Proportion also inspired Dürer's Christ among the Doctors, painted in Venice in 1506.The researcher Glori in 2020 published her ten-years research focused on  the cartouche with the inscription IACO.BAR.VIGENNIS P.1495, where she summarizes the methodological path followed in order  to prove the scientificity of the decryption of the mysterious cryptogram (see External link to Academia edu).

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg


Portrait of Luca Pacioli

Prompt: Focus on Portrait of Luca Pacioli and explain the The identification of the learner.

According to one hypothesis, the figure on the right was identified as Guidobaldo da Montefeltro (the then Duke of Urbino who was a fervent scholar of mathematics and to whom the Summa was dedicated).A second hypothesis indicated Francesco di Bartolomeo Archinto (of whom a very similar portrait of Leonardesque school exists in the National Gallery, London, sometimes attributed to Marco d'Oggiono or Giovanni Ambrogio de Predis),The scholar Carla Glori has instead identified him in the figure of Galeazzo Sanseverino, son-in-law and dear friend of Ludovico il Moro, a leading figure at the court of Milan, as well as protector of the same fra' Luca Pacioli. The hypothesis is also based on the comparison with another portrait, the so-called Musico di Leonardo, also attributed to Galeazzo, where recurring elements are noted, such as the thick curly hair and the central slit of the farsetto in the form of a spear, symbolizing the manly power of Galeazzo in the rides.  Other scholars have pointed instead to the close similarity between these two portraits and the certain ones of Galeazzo's father, Roberto Sanseverino, whose facial features show several traits in common. The reconstruction relating to the year 1495 also highlights the contacts of Luca Pacioli with his two Milanese patrons (Ludovico and Galeazzo) and Leonardo, and in any case assumes that already in February 1496 the collaboration for the "De Divina Proportione" was underway and the mathematical friar was a guest in the house of Porta Vercellina di Galeazzo himself (which he had from Pacioli, together with Duke Ludovico, the dedication of one of the three manuscript copies completed in 1498).

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: Explain the The identification of the learner of this artwork, Portrait of Luca Pacioli.

According to one hypothesis, the figure on the right was identified as Guidobaldo da Montefeltro (the then Duke of Urbino who was a fervent scholar of mathematics and to whom the Summa was dedicated).A second hypothesis indicated Francesco di Bartolomeo Archinto (of whom a very similar portrait of Leonardesque school exists in the National Gallery, London, sometimes attributed to Marco d'Oggiono or Giovanni Ambrogio de Predis),The scholar Carla Glori has instead identified him in the figure of Galeazzo Sanseverino, son-in-law and dear friend of Ludovico il Moro, a leading figure at the court of Milan, as well as protector of the same fra' Luca Pacioli. The hypothesis is also based on the comparison with another portrait, the so-called Musico di Leonardo, also attributed to Galeazzo, where recurring elements are noted, such as the thick curly hair and the central slit of the farsetto in the form of a spear, symbolizing the manly power of Galeazzo in the rides.  Other scholars have pointed instead to the close similarity between these two portraits and the certain ones of Galeazzo's father, Roberto Sanseverino, whose facial features show several traits in common. The reconstruction relating to the year 1495 also highlights the contacts of Luca Pacioli with his two Milanese patrons (Ludovico and Galeazzo) and Leonardo, and in any case assumes that already in February 1496 the collaboration for the "De Divina Proportione" was underway and the mathematical friar was a guest in the house of Porta Vercellina di Galeazzo himself (which he had from Pacioli, together with Duke Ludovico, the dedication of one of the three manuscript copies completed in 1498).

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: How does Portrait of Luca Pacioli explain its The identification of the learner?

According to one hypothesis, the figure on the right was identified as Guidobaldo da Montefeltro (the then Duke of Urbino who was a fervent scholar of mathematics and to whom the Summa was dedicated).A second hypothesis indicated Francesco di Bartolomeo Archinto (of whom a very similar portrait of Leonardesque school exists in the National Gallery, London, sometimes attributed to Marco d'Oggiono or Giovanni Ambrogio de Predis),The scholar Carla Glori has instead identified him in the figure of Galeazzo Sanseverino, son-in-law and dear friend of Ludovico il Moro, a leading figure at the court of Milan, as well as protector of the same fra' Luca Pacioli. The hypothesis is also based on the comparison with another portrait, the so-called Musico di Leonardo, also attributed to Galeazzo, where recurring elements are noted, such as the thick curly hair and the central slit of the farsetto in the form of a spear, symbolizing the manly power of Galeazzo in the rides.  Other scholars have pointed instead to the close similarity between these two portraits and the certain ones of Galeazzo's father, Roberto Sanseverino, whose facial features show several traits in common. The reconstruction relating to the year 1495 also highlights the contacts of Luca Pacioli with his two Milanese patrons (Ludovico and Galeazzo) and Leonardo, and in any case assumes that already in February 1496 the collaboration for the "De Divina Proportione" was underway and the mathematical friar was a guest in the house of Porta Vercellina di Galeazzo himself (which he had from Pacioli, together with Duke Ludovico, the dedication of one of the three manuscript copies completed in 1498).

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Portrait of Luca Pacioli

Prompt: In Portrait of Luca Pacioli, how is the The identification of the learner discussed?

According to one hypothesis, the figure on the right was identified as Guidobaldo da Montefeltro (the then Duke of Urbino who was a fervent scholar of mathematics and to whom the Summa was dedicated).A second hypothesis indicated Francesco di Bartolomeo Archinto (of whom a very similar portrait of Leonardesque school exists in the National Gallery, London, sometimes attributed to Marco d'Oggiono or Giovanni Ambrogio de Predis),The scholar Carla Glori has instead identified him in the figure of Galeazzo Sanseverino, son-in-law and dear friend of Ludovico il Moro, a leading figure at the court of Milan, as well as protector of the same fra' Luca Pacioli. The hypothesis is also based on the comparison with another portrait, the so-called Musico di Leonardo, also attributed to Galeazzo, where recurring elements are noted, such as the thick curly hair and the central slit of the farsetto in the form of a spear, symbolizing the manly power of Galeazzo in the rides.  Other scholars have pointed instead to the close similarity between these two portraits and the certain ones of Galeazzo's father, Roberto Sanseverino, whose facial features show several traits in common. The reconstruction relating to the year 1495 also highlights the contacts of Luca Pacioli with his two Milanese patrons (Ludovico and Galeazzo) and Leonardo, and in any case assumes that already in February 1496 the collaboration for the "De Divina Proportione" was underway and the mathematical friar was a guest in the house of Porta Vercellina di Galeazzo himself (which he had from Pacioli, together with Duke Ludovico, the dedication of one of the three manuscript copies completed in 1498).

Category:Paintings in the Museo di Capodimonte

File:De divina proportione - Vigintisex Basium Planum Vacuum.jpg

Summary of arithmetic, geometry, proportions and proportionality


Spirit of the Confederacy

Prompt: Focus on Spirit of the Confederacy and explain the abstract.

Spirit of the Confederacy, also known as the Confederacy Monument, is an outdoor bronze sculpture depicting an angel holding a sword and palm branch by Louis Amateis, installed in Houston's Sam Houston Park, in the U.S. state of Texas. It was erected in 1908 by a local chapter of the United Daughters of the Confederacy. The statue was removed from the park in 2020 and relocated to the Houston Museum of African American Culture.

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

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


Spirit of the Confederacy

Prompt: Explain the abstract of this artwork, Spirit of the Confederacy.

Spirit of the Confederacy, also known as the Confederacy Monument, is an outdoor bronze sculpture depicting an angel holding a sword and palm branch by Louis Amateis, installed in Houston's Sam Houston Park, in the U.S. state of Texas. It was erected in 1908 by a local chapter of the United Daughters of the Confederacy. The statue was removed from the park in 2020 and relocated to the Houston Museum of African American Culture.

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

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


Spirit of the Confederacy

Prompt: How does Spirit of the Confederacy explain its abstract?

Spirit of the Confederacy, also known as the Confederacy Monument, is an outdoor bronze sculpture depicting an angel holding a sword and palm branch by Louis Amateis, installed in Houston's Sam Houston Park, in the U.S. state of Texas. It was erected in 1908 by a local chapter of the United Daughters of the Confederacy. The statue was removed from the park in 2020 and relocated to the Houston Museum of African American Culture.

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

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


Spirit of the Confederacy

Prompt: In Spirit of the Confederacy, how is the abstract discussed?

Spirit of the Confederacy, also known as the Confederacy Monument, is an outdoor bronze sculpture depicting an angel holding a sword and palm branch by Louis Amateis, installed in Houston's Sam Houston Park, in the U.S. state of Texas. It was erected in 1908 by a local chapter of the United Daughters of the Confederacy. The statue was removed from the park in 2020 and relocated to the Houston Museum of African American Culture.

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

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


Spirit of the Confederacy

Prompt: Focus on Spirit of the Confederacy and explain the History.

The memorial was installed by the Robert E. Lee Chapter #186 of the United Daughters of the Confederacy and unveiled on his birthday in January 1908. It had taken the Daughters nine years to collect the necessary $7,500. The statue sits atop a granite pedestal. The memorial is dedicated "To all heroes of the South who fought for the Principles of States Rights".The monument was put up at a time when Houston was a re-segregated city; the city had enacted separate streetcar compartments for whites and blacks in 1903, and "the following year, thousands of black voters were removed from the electorate when the city adopted a $2.50 poll tax". At the unveiling, Joseph Chappell Hutcheson, a Confederate veteran and Democratic representative in the Texas House of Representatives and the United States House of Representatives, said, "Look upon this masterpiece wrought in bronze, this marvel of art to typify the spirit and genius of that Confederacy we once so fondly loved and still so fondly cherish". A 1911 history of the city said it has "done much to preserve the memory of the Confederate soldiers who have passed over the river and to care for and comfort those who are still on this side".

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

Houston Museum of African American Culture

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


Spirit of the Confederacy

Prompt: Explain the History of this artwork, Spirit of the Confederacy.

The memorial was installed by the Robert E. Lee Chapter #186 of the United Daughters of the Confederacy and unveiled on his birthday in January 1908. It had taken the Daughters nine years to collect the necessary $7,500. The statue sits atop a granite pedestal. The memorial is dedicated "To all heroes of the South who fought for the Principles of States Rights".The monument was put up at a time when Houston was a re-segregated city; the city had enacted separate streetcar compartments for whites and blacks in 1903, and "the following year, thousands of black voters were removed from the electorate when the city adopted a $2.50 poll tax". At the unveiling, Joseph Chappell Hutcheson, a Confederate veteran and Democratic representative in the Texas House of Representatives and the United States House of Representatives, said, "Look upon this masterpiece wrought in bronze, this marvel of art to typify the spirit and genius of that Confederacy we once so fondly loved and still so fondly cherish". A 1911 history of the city said it has "done much to preserve the memory of the Confederate soldiers who have passed over the river and to care for and comfort those who are still on this side".

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

Houston Museum of African American Culture

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


Spirit of the Confederacy

Prompt: How does Spirit of the Confederacy explain its History?

The memorial was installed by the Robert E. Lee Chapter #186 of the United Daughters of the Confederacy and unveiled on his birthday in January 1908. It had taken the Daughters nine years to collect the necessary $7,500. The statue sits atop a granite pedestal. The memorial is dedicated "To all heroes of the South who fought for the Principles of States Rights".The monument was put up at a time when Houston was a re-segregated city; the city had enacted separate streetcar compartments for whites and blacks in 1903, and "the following year, thousands of black voters were removed from the electorate when the city adopted a $2.50 poll tax". At the unveiling, Joseph Chappell Hutcheson, a Confederate veteran and Democratic representative in the Texas House of Representatives and the United States House of Representatives, said, "Look upon this masterpiece wrought in bronze, this marvel of art to typify the spirit and genius of that Confederacy we once so fondly loved and still so fondly cherish". A 1911 history of the city said it has "done much to preserve the memory of the Confederate soldiers who have passed over the river and to care for and comfort those who are still on this side".

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

Houston Museum of African American Culture

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


Spirit of the Confederacy

Prompt: In Spirit of the Confederacy, how is the History discussed?

The memorial was installed by the Robert E. Lee Chapter #186 of the United Daughters of the Confederacy and unveiled on his birthday in January 1908. It had taken the Daughters nine years to collect the necessary $7,500. The statue sits atop a granite pedestal. The memorial is dedicated "To all heroes of the South who fought for the Principles of States Rights".The monument was put up at a time when Houston was a re-segregated city; the city had enacted separate streetcar compartments for whites and blacks in 1903, and "the following year, thousands of black voters were removed from the electorate when the city adopted a $2.50 poll tax". At the unveiling, Joseph Chappell Hutcheson, a Confederate veteran and Democratic representative in the Texas House of Representatives and the United States House of Representatives, said, "Look upon this masterpiece wrought in bronze, this marvel of art to typify the spirit and genius of that Confederacy we once so fondly loved and still so fondly cherish". A 1911 history of the city said it has "done much to preserve the memory of the Confederate soldiers who have passed over the river and to care for and comfort those who are still on this side".

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

Houston Museum of African American Culture

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


Spirit of the Confederacy

Prompt: In the context of Spirit of the Confederacy, explain the Removal and relocation and the History.

Doubts about the monument were expressed in 2015 after the racially motivated Charleston church shooting, with one citizen asking, "Is it something that we want to take pride in anymore when so many people are offended by it?" Protesters said the statue celebrated slavery and racism, while others argued that removing the monument meant removing history. The controversy was reignited in 2017 after the Unite the Right rally in Charlottesville. The monument is one of two monuments in Houston dedicated to the Confederacy; the other is the statue of Richard W. Dowling.On June 11, 2020, the City of Houston announced plans to relocate the monument as well as the Dowling statue. While the plans to relocate the statues had been formulating for some time, the events surrounding the death of former Houston resident George Floyd prompted the mayor and task force to move forward. The monument was removed on June 16, 2020, and arrived at the Houston Museum of African American Culture on August 18.

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

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


Spirit of the Confederacy

Prompt: Explain the Removal and relocation about the History of this artwork, Spirit of the Confederacy.

Doubts about the monument were expressed in 2015 after the racially motivated Charleston church shooting, with one citizen asking, "Is it something that we want to take pride in anymore when so many people are offended by it?" Protesters said the statue celebrated slavery and racism, while others argued that removing the monument meant removing history. The controversy was reignited in 2017 after the Unite the Right rally in Charlottesville. The monument is one of two monuments in Houston dedicated to the Confederacy; the other is the statue of Richard W. Dowling.On June 11, 2020, the City of Houston announced plans to relocate the monument as well as the Dowling statue. While the plans to relocate the statues had been formulating for some time, the events surrounding the death of former Houston resident George Floyd prompted the mayor and task force to move forward. The monument was removed on June 16, 2020, and arrived at the Houston Museum of African American Culture on August 18.

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

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


Spirit of the Confederacy

Prompt: In Spirit of the Confederacy, how is the Removal and relocation of the History explained?

Doubts about the monument were expressed in 2015 after the racially motivated Charleston church shooting, with one citizen asking, "Is it something that we want to take pride in anymore when so many people are offended by it?" Protesters said the statue celebrated slavery and racism, while others argued that removing the monument meant removing history. The controversy was reignited in 2017 after the Unite the Right rally in Charlottesville. The monument is one of two monuments in Houston dedicated to the Confederacy; the other is the statue of Richard W. Dowling.On June 11, 2020, the City of Houston announced plans to relocate the monument as well as the Dowling statue. While the plans to relocate the statues had been formulating for some time, the events surrounding the death of former Houston resident George Floyd prompted the mayor and task force to move forward. The monument was removed on June 16, 2020, and arrived at the Houston Museum of African American Culture on August 18.

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

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


Spirit of the Confederacy

Prompt: Describe the characteristics of the Removal and relocation in Spirit of the Confederacy's History.

Doubts about the monument were expressed in 2015 after the racially motivated Charleston church shooting, with one citizen asking, "Is it something that we want to take pride in anymore when so many people are offended by it?" Protesters said the statue celebrated slavery and racism, while others argued that removing the monument meant removing history. The controversy was reignited in 2017 after the Unite the Right rally in Charlottesville. The monument is one of two monuments in Houston dedicated to the Confederacy; the other is the statue of Richard W. Dowling.On June 11, 2020, the City of Houston announced plans to relocate the monument as well as the Dowling statue. While the plans to relocate the statues had been formulating for some time, the events surrounding the death of former Houston resident George Floyd prompted the mayor and task force to move forward. The monument was removed on June 16, 2020, and arrived at the Houston Museum of African American Culture on August 18.

Category:United Daughters of the Confederacy monuments and memorials

List of monuments and memorials removed during the George Floyd protests

File:Confederacy Monument Sam Houston Park Houston Texas.jpg

List of monuments erected by the United Daughters of the Confederacy

Category:Confederate States of America monuments and memorials in Texas

Category:Relocated buildings and structures in Texas

List of Confederate monuments and memorials

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


Henry Ford Hospital (painting)

Prompt: Focus on Henry Ford Hospital (painting) and explain the abstract.

Henry Ford Hospital is a 1932 oil-on-metal painting by the Mexican artist Frida Kahlo about her experience of delivering a dead male fetus on 4 July at Henry Ford Hospital in Detroit, Michigan, United States, when she was approximately 31⁄2 months pregnant. Depictions of childbirth, abortion, or miscarriage are rare in the canon of Western painting, and Kahlo is "one of the only major artists to directly communicate her reproductive grief through visual art." The "bloody and terrifying" painting opened a defining and influential era of Kahlo's career. The painting's first title was The Lost Desire. An alternate title is The Flying Bed (La Cama Volando).

Category:1932 paintings
Henry Ford Hospital
purgative
My Birth
River Rouge complex
childbirth
Laxative
Diego Rivera
''Detroit Industry'' murals
medical abortion
thumb
Edsel Ford
cattleya
Category:Pregnancy in art
Lucienne Bloch
miscarriage
autoclave
post-polio
dilation and curettage
early pregnancy bleeding
abortion
Frida Kahlo and Diego Rivera ~ 1932
Miscarriage
medical humanities
Post-polio syndrome
Pregnancy in art
Category:Paintings by Frida Kahlo
epilepsy
Leo Eloesser
List of paintings by Frida Kahlo
Frida Kahlo
Caesarean section
pelvis
castor oil
Hayden Herrera
Miscarriage and grief
The Guardian
umbilical cord
reproductive grief
Xochimilco
quinine
Detroit Institute of Arts
File:Diego riveraa.jpg
Perinatal bereavement
quinine#Termination of pregnancy
dilation and evacuation
uterine contraction
Caesarean delivery
Ford River Rouge complex
Detroit Industry Murals
Dolores Olmedo Museum


Henry Ford Hospital (painting)

Prompt: Explain the abstract of this artwork, Henry Ford Hospital (painting).

Henry Ford Hospital is a 1932 oil-on-metal painting by the Mexican artist Frida Kahlo about her experience of delivering a dead male fetus on 4 July at Henry Ford Hospital in Detroit, Michigan, United States, when she was approximately 31⁄2 months pregnant. Depictions of childbirth, abortion, or miscarriage are rare in the canon of Western painting, and Kahlo is "one of the only major artists to directly communicate her reproductive grief through visual art." The "bloody and terrifying" painting opened a defining and influential era of Kahlo's career. The painting's first title was The Lost Desire. An alternate title is The Flying Bed (La Cama Volando).

Category:1932 paintings
Henry Ford Hospital
purgative
My Birth
River Rouge complex
childbirth
Laxative
Diego Rivera
''Detroit Industry'' murals
medical abortion
thumb
Edsel Ford
cattleya
Category:Pregnancy in art
Lucienne Bloch
miscarriage
autoclave
post-polio
dilation and curettage
early pregnancy bleeding
abortion
Frida Kahlo and Diego Rivera ~ 1932
Miscarriage
medical humanities
Post-polio syndrome
Pregnancy in art
Category:Paintings by Frida Kahlo
epilepsy
Leo Eloesser
List of paintings by Frida Kahlo
Frida Kahlo
Caesarean section
pelvis
castor oil
Hayden Herrera
Miscarriage and grief
The Guardian
umbilical cord
reproductive grief
Xochimilco
quinine
Detroit Institute of Arts
File:Diego riveraa.jpg
Perinatal bereavement
quinine#Termination of pregnancy
dilation and evacuation
uterine contraction
Caesarean delivery
Ford River Rouge complex
Detroit Industry Murals
Dolores Olmedo Museum


Henry Ford Hospital (painting)

Prompt: How does Henry Ford Hospital (painting) explain its abstract?

Henry Ford Hospital is a 1932 oil-on-metal painting by the Mexican artist Frida Kahlo about her experience of delivering a dead male fetus on 4 July at Henry Ford Hospital in Detroit, Michigan, United States, when she was approximately 31⁄2 months pregnant. Depictions of childbirth, abortion, or miscarriage are rare in the canon of Western painting, and Kahlo is "one of the only major artists to directly communicate her reproductive grief through visual art." The "bloody and terrifying" painting opened a defining and influential era of Kahlo's career. The painting's first title was The Lost Desire. An alternate title is The Flying Bed (La Cama Volando).

Category:1932 paintings
Henry Ford Hospital
purgative
My Birth
River Rouge complex
childbirth
Laxative
Diego Rivera
''Detroit Industry'' murals
medical abortion
thumb
Edsel Ford
cattleya
Category:Pregnancy in art
Lucienne Bloch
miscarriage
autoclave
post-polio
dilation and curettage
early pregnancy bleeding
abortion
Frida Kahlo and Diego Rivera ~ 1932
Miscarriage
medical humanities
Post-polio syndrome
Pregnancy in art
Category:Paintings by Frida Kahlo
epilepsy
Leo Eloesser
List of paintings by Frida Kahlo
Frida Kahlo
Caesarean section
pelvis
castor oil
Hayden Herrera
Miscarriage and grief
The Guardian
umbilical cord
reproductive grief
Xochimilco
quinine
Detroit Institute of Arts
File:Diego riveraa.jpg
Perinatal bereavement
quinine#Termination of pregnancy
dilation and evacuation
uterine contraction
Caesarean delivery
Ford River Rouge complex
Detroit Industry Murals
Dolores Olmedo Museum


Henry Ford Hospital (painting)

Prompt: In Henry Ford Hospital (painting), how is the abstract discussed?

Henry Ford Hospital is a 1932 oil-on-metal painting by the Mexican artist Frida Kahlo about her experience of delivering a dead male fetus on 4 July at Henry Ford Hospital in Detroit, Michigan, United States, when she was approximately 31⁄2 months pregnant. Depictions of childbirth, abortion, or miscarriage are rare in the canon of Western painting, and Kahlo is "one of the only major artists to directly communicate her reproductive grief through visual art." The "bloody and terrifying" painting opened a defining and influential era of Kahlo's career. The painting's first title was The Lost Desire. An alternate title is The Flying Bed (La Cama Volando).

Category:1932 paintings
Henry Ford Hospital
purgative
My Birth
River Rouge complex
childbirth
Laxative
Diego Rivera
''Detroit Industry'' murals
medical abortion
thumb
Edsel Ford
cattleya
Category:Pregnancy in art
Lucienne Bloch
miscarriage
autoclave
post-polio
dilation and curettage
early pregnancy bleeding
abortion
Frida Kahlo and Diego Rivera ~ 1932
Miscarriage
medical humanities
Post-polio syndrome
Pregnancy in art
Category:Paintings by Frida Kahlo
epilepsy
Leo Eloesser
List of paintings by Frida Kahlo
Frida Kahlo
Caesarean section
pelvis
castor oil
Hayden Herrera
Miscarriage and grief
The Guardian
umbilical cord
reproductive grief
Xochimilco
quinine
Detroit Institute of Arts
File:Diego riveraa.jpg
Perinatal bereavement
quinine#Termination of pregnancy
dilation and evacuation
uterine contraction
Caesarean delivery
Ford River Rouge complex
Detroit Industry Murals
Dolores Olmedo Museum


Henry Ford Hospital (painting)

Prompt: Focus on Henry Ford Hospital (painting) and explain the Pregnancy and loss.

Frida Kahlo had a complicated obstetric/gynecological medical history. She survived a catastrophic traffic accident in which her pelvis had been broken and her vagina had been pierced by a metal bar. She likely had uterine scarring. She also had post-polio symptoms; her father had epilepsy, which she was apparently concerned would be a genetic trait passed on to her children; she was plagued with chronic back pain and assorted infections; and by all accounts she desperately wanted to have a baby fathered by her husband, the muralist Diego Rivera. Kahlo was 24 years old at the time of her summer 1932 pregnancy. Per Kahlo's biographer Hayden Herrera, on 26 May she wrote her friend and advisor Dr. Leo Eloesser that she was two months pregnant and had first gone to see Dr. Pratt at Henry Ford Hospital approximately a week prior. In the letter she itemized her doubts about her ability to deliver a healthy child, challenges with her schedule, her lack of family support, and Rivera's inability to parent. (Kahlo considered Rivera to be an infant of sorts, and painted him as such on at least one occasion.) Dr. Pratt gave Kahlo castor oil (a purgative known to induce uterine contractions) and quinine, which together was a formula for inducing miscarriage, i.e., a medical abortion. After approximately six days of mild spotting, she returned to Dr. Pratt. He told her she was still pregnant, that he thought she could and should stay pregnant, and that a Caesarean delivery was possible and would solve the problems that she foresaw with her pregnancy. Kahlo had written Dr. Eloesser about her ambivalence, seeking his direction about whether or not to pursue a surgical abortion (presumably dilation and curettage or dilation and evacuation). But after she sent the first letter, per Herrera, "Frida had decided against [a surgical] abortion, hoping against hope that Dr. Pratt was right."The artist Lucienne Bloch, who was living with Rivera and Kahlo in Detroit, reported that by the end of June, Kahlo was spotting (early pregnancy bleeding), cramping, and nauseated, but also refusing to return to Dr. Pratt. By the night of 4 July, Kahlo was in severe pain and bleeding heavily. Rivera called for an ambulance on the morning of 5 July. In her diary, Bloch described Kahlo as being taken away by the doctor in "the agonies of birth...out of the pool of blood she had made...the huge clots of blood she kept losing."Per another letter from Kahlo to Eloesser, the fetus "did not take form since it came out all disintegrated." This language suggests a non-viable pregnancy and subsequent decomposition. Kahlo remained in the hospital until 17 July. Whether the experience depicted in both Henry Ford Hospital and a related untitled lithograph should be characterized as an abortion or a miscarriage remains a topic of contention in art scholarship.

Category:1932 paintings
Henry Ford Hospital
purgative
My Birth
River Rouge complex
childbirth
Laxative
Diego Rivera
''Detroit Industry'' murals
medical abortion
thumb
Edsel Ford
cattleya
Category:Pregnancy in art
Lucienne Bloch
miscarriage
autoclave
post-polio
dilation and curettage
early pregnancy bleeding
abortion
Frida Kahlo and Diego Rivera ~ 1932
Miscarriage
medical humanities
Post-polio syndrome
Pregnancy in art
Category:Paintings by Frida Kahlo
epilepsy
Leo Eloesser
List of paintings by Frida Kahlo
Frida Kahlo
Caesarean section
pelvis
castor oil
Hayden Herrera
Miscarriage and grief
The Guardian
umbilical cord
reproductive grief
Xochimilco
quinine
Detroit Institute of Arts
File:Diego riveraa.jpg
Perinatal bereavement
quinine#Termination of pregnancy
dilation and evacuation
uterine contraction
Caesarean delivery
Ford River Rouge complex
Detroit Industry Murals
Dolores Olmedo Museum


Henry Ford Hospital (painting)

Prompt: Explain the Pregnancy and loss of this artwork, Henry Ford Hospital (painting).

Frida Kahlo had a complicated obstetric/gynecological medical history. She survived a catastrophic traffic accident in which her pelvis had been broken and her vagina had been pierced by a metal bar. She likely had uterine scarring. She also had post-polio symptoms; her father had epilepsy, which she was apparently concerned would be a genetic trait passed on to her children; she was plagued with chronic back pain and assorted infections; and by all accounts she desperately wanted to have a baby fathered by her husband, the muralist Diego Rivera. Kahlo was 24 years old at the time of her summer 1932 pregnancy. Per Kahlo's biographer Hayden Herrera, on 26 May she wrote her friend and advisor Dr. Leo Eloesser that she was two months pregnant and had first gone to see Dr. Pratt at Henry Ford Hospital approximately a week prior. In the letter she itemized her doubts about her ability to deliver a healthy child, challenges with her schedule, her lack of family support, and Rivera's inability to parent. (Kahlo considered Rivera to be an infant of sorts, and painted him as such on at least one occasion.) Dr. Pratt gave Kahlo castor oil (a purgative known to induce uterine contractions) and quinine, which together was a formula for inducing miscarriage, i.e., a medical abortion. After approximately six days of mild spotting, she returned to Dr. Pratt. He told her she was still pregnant, that he thought she could and should stay pregnant, and that a Caesarean delivery was possible and would solve the problems that she foresaw with her pregnancy. Kahlo had written Dr. Eloesser about her ambivalence, seeking his direction about whether or not to pursue a surgical abortion (presumably dilation and curettage or dilation and evacuation). But after she sent the first letter, per Herrera, "Frida had decided against [a surgical] abortion, hoping against hope that Dr. Pratt was right."The artist Lucienne Bloch, who was living with Rivera and Kahlo in Detroit, reported that by the end of June, Kahlo was spotting (early pregnancy bleeding), cramping, and nauseated, but also refusing to return to Dr. Pratt. By the night of 4 July, Kahlo was in severe pain and bleeding heavily. Rivera called for an ambulance on the morning of 5 July. In her diary, Bloch described Kahlo as being taken away by the doctor in "the agonies of birth...out of the pool of blood she had made...the huge clots of blood she kept losing."Per another letter from Kahlo to Eloesser, the fetus "did not take form since it came out all disintegrated." This language suggests a non-viable pregnancy and subsequent decomposition. Kahlo remained in the hospital until 17 July. Whether the experience depicted in both Henry Ford Hospital and a related untitled lithograph should be characterized as an abortion or a miscarriage remains a topic of contention in art scholarship.

Category:1932 paintings
Henry Ford Hospital
purgative
My Birth
River Rouge complex
childbirth
Laxative
Diego Rivera
''Detroit Industry'' murals
medical abortion
thumb
Edsel Ford
cattleya
Category:Pregnancy in art
Lucienne Bloch
miscarriage
autoclave
post-polio
dilation and curettage
early pregnancy bleeding
abortion
Frida Kahlo and Diego Rivera ~ 1932
Miscarriage
medical humanities
Post-polio syndrome
Pregnancy in art
Category:Paintings by Frida Kahlo
epilepsy
Leo Eloesser
List of paintings by Frida Kahlo
Frida Kahlo
Caesarean section
pelvis
castor oil
Hayden Herrera
Miscarriage and grief
The Guardian
umbilical cord
reproductive grief
Xochimilco
quinine
Detroit Institute of Arts
File:Diego riveraa.jpg
Perinatal bereavement
quinine#Termination of pregnancy
dilation and evacuation
uterine contraction
Caesarean delivery
Ford River Rouge complex
Detroit Industry Murals
Dolores Olmedo Museum


Henry Ford Hospital (painting)

Prompt: How does Henry Ford Hospital (painting) explain its Pregnancy and loss?

Frida Kahlo had a complicated obstetric/gynecological medical history. She survived a catastrophic traffic accident in which her pelvis had been broken and her vagina had been pierced by a metal bar. She likely had uterine scarring. She also had post-polio symptoms; her father had epilepsy, which she was apparently concerned would be a genetic trait passed on to her children; she was plagued with chronic back pain and assorted infections; and by all accounts she desperately wanted to have a baby fathered by her husband, the muralist Diego Rivera. Kahlo was 24 years old at the time of her summer 1932 pregnancy. Per Kahlo's biographer Hayden Herrera, on 26 May she wrote her friend and advisor Dr. Leo Eloesser that she was two months pregnant and had first gone to see Dr. Pratt at Henry Ford Hospital approximately a week prior. In the letter she itemized her doubts about her ability to deliver a healthy child, challenges with her schedule, her lack of family support, and Rivera's inability to parent. (Kahlo considered Rivera to be an infant of sorts, and painted him as such on at least one occasion.) Dr. Pratt gave Kahlo castor oil (a purgative known to induce uterine contractions) and quinine, which together was a formula for inducing miscarriage, i.e., a medical abortion. After approximately six days of mild spotting, she returned to Dr. Pratt. He told her she was still pregnant, that he thought she could and should stay pregnant, and that a Caesarean delivery was possible and would solve the problems that she foresaw with her pregnancy. Kahlo had written Dr. Eloesser about her ambivalence, seeking his direction about whether or not to pursue a surgical abortion (presumably dilation and curettage or dilation and evacuation). But after she sent the first letter, per Herrera, "Frida had decided against [a surgical] abortion, hoping against hope that Dr. Pratt was right."The artist Lucienne Bloch, who was living with Rivera and Kahlo in Detroit, reported that by the end of June, Kahlo was spotting (early pregnancy bleeding), cramping, and nauseated, but also refusing to return to Dr. Pratt. By the night of 4 July, Kahlo was in severe pain and bleeding heavily. Rivera called for an ambulance on the morning of 5 July. In her diary, Bloch described Kahlo as being taken away by the doctor in "the agonies of birth...out of the pool of blood she had made...the huge clots of blood she kept losing."Per another letter from Kahlo to Eloesser, the fetus "did not take form since it came out all disintegrated." This language suggests a non-viable pregnancy and subsequent decomposition. Kahlo remained in the hospital until 17 July. Whether the experience depicted in both Henry Ford Hospital and a related untitled lithograph should be characterized as an abortion or a miscarriage remains a topic of contention in art scholarship.

Category:1932 paintings
Henry Ford Hospital
purgative
My Birth
River Rouge complex
childbirth
Laxative
Diego Rivera
''Detroit Industry'' murals
medical abortion
thumb
Edsel Ford
cattleya
Category:Pregnancy in art
Lucienne Bloch
miscarriage
autoclave
post-polio
dilation and curettage
early pregnancy bleeding
abortion
Frida Kahlo and Diego Rivera ~ 1932
Miscarriage
medical humanities
Post-polio syndrome
Pregnancy in art
Category:Paintings by Frida Kahlo
epilepsy
Leo Eloesser
List of paintings by Frida Kahlo
Frida Kahlo
Caesarean section
pelvis
castor oil
Hayden Herrera
Miscarriage and grief
The Guardian
umbilical cord
reproductive grief
Xochimilco
quinine
Detroit Institute of Arts
File:Diego riveraa.jpg
Perinatal bereavement
quinine#Termination of pregnancy
dilation and evacuation
uterine contraction
Caesarean delivery
Ford River Rouge complex
Detroit Industry Murals
Dolores Olmedo Museum