Girls at the Piano

Prompt: Explain the Description of this artwork, Girls at the Piano.

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Girls at the Piano

Prompt: How does Girls at the Piano explain its Description?

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Girls at the Piano

Prompt: In Girls at the Piano, how is the Description discussed?

Renoir depicts two young girls at a piano in a bourgeois home, one in a white dress with blue sash seated playing and one in a pink dress standing. Renoir completed three additional versions of this composition in oil for collectors; the Luxembourg version is now housed at the Musée d'Orsay in Paris, the Robert Lehman Collection version is at the Metropolitan Museum of Art in New York, while the Caillebotte version and one other are in private collections. An oil sketch of the composition is on display at the Musée de l'Orangerie in Paris and a pastel sketch is in a private collection. The painting in the Musée d'Orsay is 116 cm high and 90 cm wide. The version at the Met is 111.8 x 86.4 cm. The oil sketch at the Musée de l'Orangerie is 116.0 x 81.0 cm.Pissarro and Monet routinely painted series of variations on a single theme, but their works were intended to be shown together to chronicle the effects of light and atmosphere, while Renoir's repetitions were independent essays in composition. In particular, details and poses changed subtly, and the sketches eliminate most of the background elements.Renoir explored a similar composition with his earlier 1888 work The Daughters of Catulle Mendès, now in the Annenberg Collection at the Metropolitan Museum of Art.

Category:Works about pianos and pianists

Category:Paintings by Pierre-Auguste Renoir

List of paintings by Pierre-Auguste Renoir


Oddi Altarpiece (Raphael)

Prompt: Focus on Oddi Altarpiece (Raphael) and explain the abstract.

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797 (for the Musée Napoleon) and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca.The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Explain the abstract of this artwork, Oddi Altarpiece (Raphael).

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797 (for the Musée Napoleon) and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca.The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: How does Oddi Altarpiece (Raphael) explain its abstract?

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797 (for the Musée Napoleon) and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca.The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: In Oddi Altarpiece (Raphael), how is the abstract discussed?

The Oddi altarpiece, or more correctly the degli Oddi altarpiece, is an altarpiece of the Coronation of the Virgin painted in 1502-1504 by the Italian Renaissance master Raphael for the altar of the Oddi family chapel in the church of San Francesco al Prato in Perugia, Italy, now in the Vatican Pinacoteca. The altarpiece was commissioned for the Oddi family chapel in San Francesco al Prato in Perugia, was taken to Paris in 1797 (for the Musée Napoleon) and in 1815 brought back to Italy, not to Perugia but to the Vatican Pinacoteca.The altarpiece was commissioned by Leandra Baglioni, widow of Simone degli Oddi; in Perugia there were different Oddi and degli Oddi families, but English sources often ignore this, including the English version of the Vatican Museums website.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Focus on Oddi Altarpiece (Raphael) and explain the The crowning of the Virgin.

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Explain the The crowning of the Virgin of this artwork, Oddi Altarpiece (Raphael).

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: How does Oddi Altarpiece (Raphael) explain its The crowning of the Virgin?

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: In Oddi Altarpiece (Raphael), how is the The crowning of the Virgin discussed?

The actions of the painting occur in two related scenes, one in heaven and the other terrestrial. Above the coronation shows the Virgin being crowned by Jesus, while angels are playing music; while below the section depicts the apostles gathering around the empty tomb of Mary, whose body was raised to heaven without corruption. St Thomas holds in his hands the girdle Mary dropped down to him as a testament to her assumption. The saints raise their eyes to the heavenly spectacle.

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Focus on Oddi Altarpiece (Raphael) and explain the The predella.

The predella (39 × 190 cm) is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: Explain the The predella of this artwork, Oddi Altarpiece (Raphael).

The predella (39 × 190 cm) is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: How does Oddi Altarpiece (Raphael) explain its The predella?

The predella (39 × 190 cm) is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Oddi Altarpiece (Raphael)

Prompt: In Oddi Altarpiece (Raphael), how is the The predella discussed?

The predella (39 × 190 cm) is composed of three 27 × 50 cm paintings, showing scenes of The Life of the Virgin:The Annunciation, The Adoration of the Magi, Presentation in the Temple

image:Raphael Presentation in the Temple.jpg

Category:Paintings in the Vatican Museums

Category:Paintings of the Adoration of the Magi

Category:Paintings of the Coronation of the Virgin

Oil on wood, transferred to canvas when brought to Paris 1797

image:Raphael - The Annunciation (Oddi altar).jpg

Category:Paintings of the Presentation of Christ at the Temple


Love and Pain (Munch)

Prompt: Focus on Love and Pain (Munch) and explain the abstract.

Love and Pain is an 1895 painting by Edvard Munch; it has also been called Vampire, though not by Munch. The painting depicts a man and woman embracing, with the woman kissing the man on his neck. Munch painted six different versions of the same subject between 1893 and 1895. Three versions are in the collection of the Munch Museum in Oslo, one is held by the Gothenburg Museum of Art, one is owned by a private collector, and the final work is unaccounted for. Munch painted several additional versions and derivatives of the work later in his career.

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: Explain the abstract of this artwork, Love and Pain (Munch).

Love and Pain is an 1895 painting by Edvard Munch; it has also been called Vampire, though not by Munch. The painting depicts a man and woman embracing, with the woman kissing the man on his neck. Munch painted six different versions of the same subject between 1893 and 1895. Three versions are in the collection of the Munch Museum in Oslo, one is held by the Gothenburg Museum of Art, one is owned by a private collector, and the final work is unaccounted for. Munch painted several additional versions and derivatives of the work later in his career.

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: How does Love and Pain (Munch) explain its abstract?

Love and Pain is an 1895 painting by Edvard Munch; it has also been called Vampire, though not by Munch. The painting depicts a man and woman embracing, with the woman kissing the man on his neck. Munch painted six different versions of the same subject between 1893 and 1895. Three versions are in the collection of the Munch Museum in Oslo, one is held by the Gothenburg Museum of Art, one is owned by a private collector, and the final work is unaccounted for. Munch painted several additional versions and derivatives of the work later in his career.

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: In Love and Pain (Munch), how is the abstract discussed?

Love and Pain is an 1895 painting by Edvard Munch; it has also been called Vampire, though not by Munch. The painting depicts a man and woman embracing, with the woman kissing the man on his neck. Munch painted six different versions of the same subject between 1893 and 1895. Three versions are in the collection of the Munch Museum in Oslo, one is held by the Gothenburg Museum of Art, one is owned by a private collector, and the final work is unaccounted for. Munch painted several additional versions and derivatives of the work later in his career.

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: Focus on Love and Pain (Munch) and explain the Description.

The painting shows a woman with long flame-red hair kissing a man on the neck, as the couple embrace. Although others have seen in it "a man locked in a vampire's tortured embrace – her molten-red hair running along his soft bare skin", Munch himself always claimed it showed nothing more than "just a woman kissing a man on the neck".The painting was first called Vampire by Munch's friend, the critic Stanisław Przybyszewski. Przybyszewski saw the painting on exhibition and described it as "a man who has become submissive, and on his neck a biting vampire's face."

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: Explain the Description of this artwork, Love and Pain (Munch).

The painting shows a woman with long flame-red hair kissing a man on the neck, as the couple embrace. Although others have seen in it "a man locked in a vampire's tortured embrace – her molten-red hair running along his soft bare skin", Munch himself always claimed it showed nothing more than "just a woman kissing a man on the neck".The painting was first called Vampire by Munch's friend, the critic Stanisław Przybyszewski. Przybyszewski saw the painting on exhibition and described it as "a man who has become submissive, and on his neck a biting vampire's face."

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: How does Love and Pain (Munch) explain its Description?

The painting shows a woman with long flame-red hair kissing a man on the neck, as the couple embrace. Although others have seen in it "a man locked in a vampire's tortured embrace – her molten-red hair running along his soft bare skin", Munch himself always claimed it showed nothing more than "just a woman kissing a man on the neck".The painting was first called Vampire by Munch's friend, the critic Stanisław Przybyszewski. Przybyszewski saw the painting on exhibition and described it as "a man who has become submissive, and on his neck a biting vampire's face."

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: In Love and Pain (Munch), how is the Description discussed?

The painting shows a woman with long flame-red hair kissing a man on the neck, as the couple embrace. Although others have seen in it "a man locked in a vampire's tortured embrace – her molten-red hair running along his soft bare skin", Munch himself always claimed it showed nothing more than "just a woman kissing a man on the neck".The painting was first called Vampire by Munch's friend, the critic Stanisław Przybyszewski. Przybyszewski saw the painting on exhibition and described it as "a man who has become submissive, and on his neck a biting vampire's face."

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: In the context of Love and Pain (Munch), explain the Versions and the Description.

A version of the painting was stolen from the Munch Museum on 23 February 1988. It was recovered later the same year, when the thief contacted the police.In 2008, at a Sotheby's auction, an 1894 version of the painting sold for 38.2 million dollars (24.3 million pounds) and set the world record for the auction of a Munch painting.In 1895, Munch created a woodcut with a very similar theme and composition, known as Vampyr II.In 1916–1918, Munch reused the composition in a different setting for two paintings called Vampire in the Forest and Vampire, currently in the collection of the Munch Museum.

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: Explain the Versions about the Description of this artwork, Love and Pain (Munch).

A version of the painting was stolen from the Munch Museum on 23 February 1988. It was recovered later the same year, when the thief contacted the police.In 2008, at a Sotheby's auction, an 1894 version of the painting sold for 38.2 million dollars (24.3 million pounds) and set the world record for the auction of a Munch painting.In 1895, Munch created a woodcut with a very similar theme and composition, known as Vampyr II.In 1916–1918, Munch reused the composition in a different setting for two paintings called Vampire in the Forest and Vampire, currently in the collection of the Munch Museum.

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: In Love and Pain (Munch), how is the Versions of the Description explained?

A version of the painting was stolen from the Munch Museum on 23 February 1988. It was recovered later the same year, when the thief contacted the police.In 2008, at a Sotheby's auction, an 1894 version of the painting sold for 38.2 million dollars (24.3 million pounds) and set the world record for the auction of a Munch painting.In 1895, Munch created a woodcut with a very similar theme and composition, known as Vampyr II.In 1916–1918, Munch reused the composition in a different setting for two paintings called Vampire in the Forest and Vampire, currently in the collection of the Munch Museum.

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


Love and Pain (Munch)

Prompt: Describe the characteristics of the Versions in Love and Pain (Munch)'s Description.

A version of the painting was stolen from the Munch Museum on 23 February 1988. It was recovered later the same year, when the thief contacted the police.In 2008, at a Sotheby's auction, an 1894 version of the painting sold for 38.2 million dollars (24.3 million pounds) and set the world record for the auction of a Munch painting.In 1895, Munch created a woodcut with a very similar theme and composition, known as Vampyr II.In 1916–1918, Munch reused the composition in a different setting for two paintings called Vampire in the Forest and Vampire, currently in the collection of the Munch Museum.

Category:Collection of the Gothenburg Museum of Art

File:Edvard Munch - Vampire in the Forest (1916-18).jpg


The Hanging of the Sigismund Bell

Prompt: Focus on The Hanging of the Sigismund Bell and explain the abstract.

The Hanging of the Sigismund Bell (Polish: Zawieszenie dzwonu Zygmunta na wieży katedry w roku 1521 w Krakowie English: The Hanging of the Sigismund bell at the Cathedral Tower in 1521 in Kraków) is a painting by Jan Matejko finished in 1874. It depicts the installation of the Sigismund Bell in the Wawel Cathedral in Kraków in 1521. The bell was installed in the Sigismund Tower and rung for the first time on 13 July 1521. The bell is considered to be one of the national symbols of Poland. This painting is one of a number of historical paintings by Matejko. It shows a crowd of people, with a number of identifiable figures of historical importance. It conveys the Golden Era of the Polish Renaissance, and the power of the Kingdom of Poland.There are several alternative names for the painting. They include The consecrating of the Sigismund bell... (Poświęcenie dzwonu Zygmunta...), as proposed by Mieczysław Treter, The raising of the Sigismund bell..., King Sigismund's Bell, or just Sigismund Bell (Dzwon Zygmunta).

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: Explain the abstract of this artwork, The Hanging of the Sigismund Bell.

The Hanging of the Sigismund Bell (Polish: Zawieszenie dzwonu Zygmunta na wieży katedry w roku 1521 w Krakowie English: The Hanging of the Sigismund bell at the Cathedral Tower in 1521 in Kraków) is a painting by Jan Matejko finished in 1874. It depicts the installation of the Sigismund Bell in the Wawel Cathedral in Kraków in 1521. The bell was installed in the Sigismund Tower and rung for the first time on 13 July 1521. The bell is considered to be one of the national symbols of Poland. This painting is one of a number of historical paintings by Matejko. It shows a crowd of people, with a number of identifiable figures of historical importance. It conveys the Golden Era of the Polish Renaissance, and the power of the Kingdom of Poland.There are several alternative names for the painting. They include The consecrating of the Sigismund bell... (Poświęcenie dzwonu Zygmunta...), as proposed by Mieczysław Treter, The raising of the Sigismund bell..., King Sigismund's Bell, or just Sigismund Bell (Dzwon Zygmunta).

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: How does The Hanging of the Sigismund Bell explain its abstract?

The Hanging of the Sigismund Bell (Polish: Zawieszenie dzwonu Zygmunta na wieży katedry w roku 1521 w Krakowie English: The Hanging of the Sigismund bell at the Cathedral Tower in 1521 in Kraków) is a painting by Jan Matejko finished in 1874. It depicts the installation of the Sigismund Bell in the Wawel Cathedral in Kraków in 1521. The bell was installed in the Sigismund Tower and rung for the first time on 13 July 1521. The bell is considered to be one of the national symbols of Poland. This painting is one of a number of historical paintings by Matejko. It shows a crowd of people, with a number of identifiable figures of historical importance. It conveys the Golden Era of the Polish Renaissance, and the power of the Kingdom of Poland.There are several alternative names for the painting. They include The consecrating of the Sigismund bell... (Poświęcenie dzwonu Zygmunta...), as proposed by Mieczysław Treter, The raising of the Sigismund bell..., King Sigismund's Bell, or just Sigismund Bell (Dzwon Zygmunta).

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: In The Hanging of the Sigismund Bell, how is the abstract discussed?

The Hanging of the Sigismund Bell (Polish: Zawieszenie dzwonu Zygmunta na wieży katedry w roku 1521 w Krakowie English: The Hanging of the Sigismund bell at the Cathedral Tower in 1521 in Kraków) is a painting by Jan Matejko finished in 1874. It depicts the installation of the Sigismund Bell in the Wawel Cathedral in Kraków in 1521. The bell was installed in the Sigismund Tower and rung for the first time on 13 July 1521. The bell is considered to be one of the national symbols of Poland. This painting is one of a number of historical paintings by Matejko. It shows a crowd of people, with a number of identifiable figures of historical importance. It conveys the Golden Era of the Polish Renaissance, and the power of the Kingdom of Poland.There are several alternative names for the painting. They include The consecrating of the Sigismund bell... (Poświęcenie dzwonu Zygmunta...), as proposed by Mieczysław Treter, The raising of the Sigismund bell..., King Sigismund's Bell, or just Sigismund Bell (Dzwon Zygmunta).

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: Focus on The Hanging of the Sigismund Bell and explain the History.

The Sigismund Bell painting was created in 1874. During his work, Matejko commissioned craftsmen to create a replica of a scaffolding that was used to move the bell, and he identified its likely original location, in order for it to be portrayed realistically.There are numerous anecdotes associated with this painting. Matejko used his family for models, and likely the painting contains nearly all the members of his family. The painting was well received by contemporaries, and Stanisław Tarnowski published an extensive and positive review in 1875 in Przegląd Polski. The work was displayed in Paris in 1875, and probably contributed to Matejko's recognition by the Académie française; three years later it was displayed there again, during the Exposition Universelle (1878), and (together with two other paintings – the Unia lubelska (Union of Lublin) and Wacław Wilczek) yielded him an honorary golden medal.The painting is in the collection of the National Museum, Warsaw.

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: Explain the History of this artwork, The Hanging of the Sigismund Bell.

The Sigismund Bell painting was created in 1874. During his work, Matejko commissioned craftsmen to create a replica of a scaffolding that was used to move the bell, and he identified its likely original location, in order for it to be portrayed realistically.There are numerous anecdotes associated with this painting. Matejko used his family for models, and likely the painting contains nearly all the members of his family. The painting was well received by contemporaries, and Stanisław Tarnowski published an extensive and positive review in 1875 in Przegląd Polski. The work was displayed in Paris in 1875, and probably contributed to Matejko's recognition by the Académie française; three years later it was displayed there again, during the Exposition Universelle (1878), and (together with two other paintings – the Unia lubelska (Union of Lublin) and Wacław Wilczek) yielded him an honorary golden medal.The painting is in the collection of the National Museum, Warsaw.

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: How does The Hanging of the Sigismund Bell explain its History?

The Sigismund Bell painting was created in 1874. During his work, Matejko commissioned craftsmen to create a replica of a scaffolding that was used to move the bell, and he identified its likely original location, in order for it to be portrayed realistically.There are numerous anecdotes associated with this painting. Matejko used his family for models, and likely the painting contains nearly all the members of his family. The painting was well received by contemporaries, and Stanisław Tarnowski published an extensive and positive review in 1875 in Przegląd Polski. The work was displayed in Paris in 1875, and probably contributed to Matejko's recognition by the Académie française; three years later it was displayed there again, during the Exposition Universelle (1878), and (together with two other paintings – the Unia lubelska (Union of Lublin) and Wacław Wilczek) yielded him an honorary golden medal.The painting is in the collection of the National Museum, Warsaw.

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: In The Hanging of the Sigismund Bell, how is the History discussed?

The Sigismund Bell painting was created in 1874. During his work, Matejko commissioned craftsmen to create a replica of a scaffolding that was used to move the bell, and he identified its likely original location, in order for it to be portrayed realistically.There are numerous anecdotes associated with this painting. Matejko used his family for models, and likely the painting contains nearly all the members of his family. The painting was well received by contemporaries, and Stanisław Tarnowski published an extensive and positive review in 1875 in Przegląd Polski. The work was displayed in Paris in 1875, and probably contributed to Matejko's recognition by the Académie française; three years later it was displayed there again, during the Exposition Universelle (1878), and (together with two other paintings – the Unia lubelska (Union of Lublin) and Wacław Wilczek) yielded him an honorary golden medal.The painting is in the collection of the National Museum, Warsaw.

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: Focus on The Hanging of the Sigismund Bell and explain the Composition and significance.

Matejko was deeply interested in the era of the Renaissance in Poland, and this painting is one of a number of historical paintings that he set in that period. The composition is very colorful, yet realistic. It conveys the Golden Era of Polish Renaissance, and the power of the contemporary Kingdom of Poland, both its elites and the common people. The left side of the painting is focused on the richness and glory of the era, while the right notes the hard work of ordinary people that made this greatness possible. Although the painting is usually known as The hanging of the Sigismund bell.., in fact it shows not the moment of hanging but the moment of the bell's emergence from the mold in which it was cast.The painting shows a crowd, with a number of identifiable figures of historical importance. On the left, there is the royal court, but only the king, Sigismund I, his family (including queen Bona Sforza), and the court jester, Stańczyk, can be identified. Sigismund, the patron of the Sigismund Bell, and his son Sigismund August, were Polish kings that inspired other works of Matejko, including The Babin Republic (1881) and The Founding of the Lubranski Academy in Poznań (1886). Sigismund I's portrayal on the Hanging... painting is the one where Matejko shows him with pride and respect. Other figures in the court include banker Jan Boner, merchant and official Seweryn Bethman, and castellan and voivode Stanisław Kmita.  Bishop Jan Chojeński is also shown on the painting, consecrating the bell, with canon Grzegorz Lubrański nearby.Outside the court, master bell-founder Hans Beham is seen above the bell.  Between him and the court there are two dark-clad figures. These are the Wawel architect Bartolommeo Berrecci, and a musician, Valentin Bakfark, who according to a legend threw a string from his instrument into the melted bronze (in fact, he arrived in Poland two decades after the bell was cast).  In the background, Wawel Castle can be seen.As he would often do, Matejko included people whom he considered significant for the era, but who could not be present in the scene, like Sigismund I's son, Sigismund II August, who would have been only one year old. In 1885 Matejko would paint a sequel-like picture, Zygmunt I słuchający Dzwonu Zygmunta (Sigismund I listening to the Sigismund Bell), showing an older Sigismund and Stańczyk, contemplating the passing of their era.

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: Explain the Composition and significance of this artwork, The Hanging of the Sigismund Bell.

Matejko was deeply interested in the era of the Renaissance in Poland, and this painting is one of a number of historical paintings that he set in that period. The composition is very colorful, yet realistic. It conveys the Golden Era of Polish Renaissance, and the power of the contemporary Kingdom of Poland, both its elites and the common people. The left side of the painting is focused on the richness and glory of the era, while the right notes the hard work of ordinary people that made this greatness possible. Although the painting is usually known as The hanging of the Sigismund bell.., in fact it shows not the moment of hanging but the moment of the bell's emergence from the mold in which it was cast.The painting shows a crowd, with a number of identifiable figures of historical importance. On the left, there is the royal court, but only the king, Sigismund I, his family (including queen Bona Sforza), and the court jester, Stańczyk, can be identified. Sigismund, the patron of the Sigismund Bell, and his son Sigismund August, were Polish kings that inspired other works of Matejko, including The Babin Republic (1881) and The Founding of the Lubranski Academy in Poznań (1886). Sigismund I's portrayal on the Hanging... painting is the one where Matejko shows him with pride and respect. Other figures in the court include banker Jan Boner, merchant and official Seweryn Bethman, and castellan and voivode Stanisław Kmita.  Bishop Jan Chojeński is also shown on the painting, consecrating the bell, with canon Grzegorz Lubrański nearby.Outside the court, master bell-founder Hans Beham is seen above the bell.  Between him and the court there are two dark-clad figures. These are the Wawel architect Bartolommeo Berrecci, and a musician, Valentin Bakfark, who according to a legend threw a string from his instrument into the melted bronze (in fact, he arrived in Poland two decades after the bell was cast).  In the background, Wawel Castle can be seen.As he would often do, Matejko included people whom he considered significant for the era, but who could not be present in the scene, like Sigismund I's son, Sigismund II August, who would have been only one year old. In 1885 Matejko would paint a sequel-like picture, Zygmunt I słuchający Dzwonu Zygmunta (Sigismund I listening to the Sigismund Bell), showing an older Sigismund and Stańczyk, contemplating the passing of their era.

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: How does The Hanging of the Sigismund Bell explain its Composition and significance?

Matejko was deeply interested in the era of the Renaissance in Poland, and this painting is one of a number of historical paintings that he set in that period. The composition is very colorful, yet realistic. It conveys the Golden Era of Polish Renaissance, and the power of the contemporary Kingdom of Poland, both its elites and the common people. The left side of the painting is focused on the richness and glory of the era, while the right notes the hard work of ordinary people that made this greatness possible. Although the painting is usually known as The hanging of the Sigismund bell.., in fact it shows not the moment of hanging but the moment of the bell's emergence from the mold in which it was cast.The painting shows a crowd, with a number of identifiable figures of historical importance. On the left, there is the royal court, but only the king, Sigismund I, his family (including queen Bona Sforza), and the court jester, Stańczyk, can be identified. Sigismund, the patron of the Sigismund Bell, and his son Sigismund August, were Polish kings that inspired other works of Matejko, including The Babin Republic (1881) and The Founding of the Lubranski Academy in Poznań (1886). Sigismund I's portrayal on the Hanging... painting is the one where Matejko shows him with pride and respect. Other figures in the court include banker Jan Boner, merchant and official Seweryn Bethman, and castellan and voivode Stanisław Kmita.  Bishop Jan Chojeński is also shown on the painting, consecrating the bell, with canon Grzegorz Lubrański nearby.Outside the court, master bell-founder Hans Beham is seen above the bell.  Between him and the court there are two dark-clad figures. These are the Wawel architect Bartolommeo Berrecci, and a musician, Valentin Bakfark, who according to a legend threw a string from his instrument into the melted bronze (in fact, he arrived in Poland two decades after the bell was cast).  In the background, Wawel Castle can be seen.As he would often do, Matejko included people whom he considered significant for the era, but who could not be present in the scene, like Sigismund I's son, Sigismund II August, who would have been only one year old. In 1885 Matejko would paint a sequel-like picture, Zygmunt I słuchający Dzwonu Zygmunta (Sigismund I listening to the Sigismund Bell), showing an older Sigismund and Stańczyk, contemplating the passing of their era.

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


The Hanging of the Sigismund Bell

Prompt: In The Hanging of the Sigismund Bell, how is the Composition and significance discussed?

Matejko was deeply interested in the era of the Renaissance in Poland, and this painting is one of a number of historical paintings that he set in that period. The composition is very colorful, yet realistic. It conveys the Golden Era of Polish Renaissance, and the power of the contemporary Kingdom of Poland, both its elites and the common people. The left side of the painting is focused on the richness and glory of the era, while the right notes the hard work of ordinary people that made this greatness possible. Although the painting is usually known as The hanging of the Sigismund bell.., in fact it shows not the moment of hanging but the moment of the bell's emergence from the mold in which it was cast.The painting shows a crowd, with a number of identifiable figures of historical importance. On the left, there is the royal court, but only the king, Sigismund I, his family (including queen Bona Sforza), and the court jester, Stańczyk, can be identified. Sigismund, the patron of the Sigismund Bell, and his son Sigismund August, were Polish kings that inspired other works of Matejko, including The Babin Republic (1881) and The Founding of the Lubranski Academy in Poznań (1886). Sigismund I's portrayal on the Hanging... painting is the one where Matejko shows him with pride and respect. Other figures in the court include banker Jan Boner, merchant and official Seweryn Bethman, and castellan and voivode Stanisław Kmita.  Bishop Jan Chojeński is also shown on the painting, consecrating the bell, with canon Grzegorz Lubrański nearby.Outside the court, master bell-founder Hans Beham is seen above the bell.  Between him and the court there are two dark-clad figures. These are the Wawel architect Bartolommeo Berrecci, and a musician, Valentin Bakfark, who according to a legend threw a string from his instrument into the melted bronze (in fact, he arrived in Poland two decades after the bell was cast).  In the background, Wawel Castle can be seen.As he would often do, Matejko included people whom he considered significant for the era, but who could not be present in the scene, like Sigismund I's son, Sigismund II August, who would have been only one year old. In 1885 Matejko would paint a sequel-like picture, Zygmunt I słuchający Dzwonu Zygmunta (Sigismund I listening to the Sigismund Bell), showing an older Sigismund and Stańczyk, contemplating the passing of their era.

Category:Paintings in the National Museum, Warsaw

Category:Cultural depictions of Polish people

Category:Cultural depictions of Stańczyk


Erased de Kooning Drawing

Prompt: Focus on Erased de Kooning Drawing and explain the abstract.

Erased de Kooning Drawing (1953) is an early work of American artist Robert Rauschenberg. This conceptual work presents an almost blank piece of paper in a gilded frame. It was created in 1953 when Rauschenberg erased a drawing he obtained from the abstract expressionist and American artist Willem de Kooning. Rauschenberg's lover and fellow artist Jasper Johns later framed it in a gilded frame and added a written caption to mimic the framing style of the Royal Academy and monogramming found on Renaissance drawings and prints. The caption reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953" (see picture). It has been in the collection of the San Francisco Museum of Modern Art (SFMOMA) since 1998. SFMOMA describes the work as a "drawing [with] traces of drawing media on paper with a label and gilded frame."Some consider Erased de Kooning Drawing a Neo-Dadaist conceptual artwork. Others argue that the action of erasing highlights his relationship to a group of artists known as "The American Action Painters", as codified by American critic Harold Rosenberg.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: Explain the abstract of this artwork, Erased de Kooning Drawing.

Erased de Kooning Drawing (1953) is an early work of American artist Robert Rauschenberg. This conceptual work presents an almost blank piece of paper in a gilded frame. It was created in 1953 when Rauschenberg erased a drawing he obtained from the abstract expressionist and American artist Willem de Kooning. Rauschenberg's lover and fellow artist Jasper Johns later framed it in a gilded frame and added a written caption to mimic the framing style of the Royal Academy and monogramming found on Renaissance drawings and prints. The caption reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953" (see picture). It has been in the collection of the San Francisco Museum of Modern Art (SFMOMA) since 1998. SFMOMA describes the work as a "drawing [with] traces of drawing media on paper with a label and gilded frame."Some consider Erased de Kooning Drawing a Neo-Dadaist conceptual artwork. Others argue that the action of erasing highlights his relationship to a group of artists known as "The American Action Painters", as codified by American critic Harold Rosenberg.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: How does Erased de Kooning Drawing explain its abstract?

Erased de Kooning Drawing (1953) is an early work of American artist Robert Rauschenberg. This conceptual work presents an almost blank piece of paper in a gilded frame. It was created in 1953 when Rauschenberg erased a drawing he obtained from the abstract expressionist and American artist Willem de Kooning. Rauschenberg's lover and fellow artist Jasper Johns later framed it in a gilded frame and added a written caption to mimic the framing style of the Royal Academy and monogramming found on Renaissance drawings and prints. The caption reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953" (see picture). It has been in the collection of the San Francisco Museum of Modern Art (SFMOMA) since 1998. SFMOMA describes the work as a "drawing [with] traces of drawing media on paper with a label and gilded frame."Some consider Erased de Kooning Drawing a Neo-Dadaist conceptual artwork. Others argue that the action of erasing highlights his relationship to a group of artists known as "The American Action Painters", as codified by American critic Harold Rosenberg.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: In Erased de Kooning Drawing, how is the abstract discussed?

Erased de Kooning Drawing (1953) is an early work of American artist Robert Rauschenberg. This conceptual work presents an almost blank piece of paper in a gilded frame. It was created in 1953 when Rauschenberg erased a drawing he obtained from the abstract expressionist and American artist Willem de Kooning. Rauschenberg's lover and fellow artist Jasper Johns later framed it in a gilded frame and added a written caption to mimic the framing style of the Royal Academy and monogramming found on Renaissance drawings and prints. The caption reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953" (see picture). It has been in the collection of the San Francisco Museum of Modern Art (SFMOMA) since 1998. SFMOMA describes the work as a "drawing [with] traces of drawing media on paper with a label and gilded frame."Some consider Erased de Kooning Drawing a Neo-Dadaist conceptual artwork. Others argue that the action of erasing highlights his relationship to a group of artists known as "The American Action Painters", as codified by American critic Harold Rosenberg.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: Focus on Erased de Kooning Drawing and explain the History.

The work comes after Rauschenberg's early monochrome White Paintings (1951). After this series of all-white canvases, Rauschenberg set out to discover whether an artwork could be produced entirely through erasure. He started by erasing his own drawings, but felt that the result was lacking, so he sought out a drawing by an established artist—clearly already a work of art—that he could erase.He approached de Kooning, an artist he admired and who was at the height of his career, and asked for a drawing that he could erase to create a new work of art. De Kooning gave Rauschenberg a densely worked drawing that would be difficult for the younger artist to remove. Rauschenberg worked on the drawing for over a month using a variety of different erasers. The gilded frame and inscription by Jasper Johns have always been important parts of the work and were explicitly noted in 1976 to remain with the drawing in all exhibitions of the piece.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: Explain the History of this artwork, Erased de Kooning Drawing.

The work comes after Rauschenberg's early monochrome White Paintings (1951). After this series of all-white canvases, Rauschenberg set out to discover whether an artwork could be produced entirely through erasure. He started by erasing his own drawings, but felt that the result was lacking, so he sought out a drawing by an established artist—clearly already a work of art—that he could erase.He approached de Kooning, an artist he admired and who was at the height of his career, and asked for a drawing that he could erase to create a new work of art. De Kooning gave Rauschenberg a densely worked drawing that would be difficult for the younger artist to remove. Rauschenberg worked on the drawing for over a month using a variety of different erasers. The gilded frame and inscription by Jasper Johns have always been important parts of the work and were explicitly noted in 1976 to remain with the drawing in all exhibitions of the piece.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: How does Erased de Kooning Drawing explain its History?

The work comes after Rauschenberg's early monochrome White Paintings (1951). After this series of all-white canvases, Rauschenberg set out to discover whether an artwork could be produced entirely through erasure. He started by erasing his own drawings, but felt that the result was lacking, so he sought out a drawing by an established artist—clearly already a work of art—that he could erase.He approached de Kooning, an artist he admired and who was at the height of his career, and asked for a drawing that he could erase to create a new work of art. De Kooning gave Rauschenberg a densely worked drawing that would be difficult for the younger artist to remove. Rauschenberg worked on the drawing for over a month using a variety of different erasers. The gilded frame and inscription by Jasper Johns have always been important parts of the work and were explicitly noted in 1976 to remain with the drawing in all exhibitions of the piece.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: In Erased de Kooning Drawing, how is the History discussed?

The work comes after Rauschenberg's early monochrome White Paintings (1951). After this series of all-white canvases, Rauschenberg set out to discover whether an artwork could be produced entirely through erasure. He started by erasing his own drawings, but felt that the result was lacking, so he sought out a drawing by an established artist—clearly already a work of art—that he could erase.He approached de Kooning, an artist he admired and who was at the height of his career, and asked for a drawing that he could erase to create a new work of art. De Kooning gave Rauschenberg a densely worked drawing that would be difficult for the younger artist to remove. Rauschenberg worked on the drawing for over a month using a variety of different erasers. The gilded frame and inscription by Jasper Johns have always been important parts of the work and were explicitly noted in 1976 to remain with the drawing in all exhibitions of the piece.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: Focus on Erased de Kooning Drawing and explain the Existing copies.

No photographs exist of the de Kooning work before its erasure, but in 2010 digital images were made by SFMOMA, as a part of the Rauschenberg Research Project, that enhanced the remaining traces of the underlying drawing. De Kooning's original drawing features several figures facing in different directions, including at least one female, probably made with pencil and charcoal. Some marks may have been erased by de Kooning himself as part of the initial creation of the work.The work, including its frame, measures 25.25 by 21.75 by 0.5 inches (64.1 cm × 55.2 cm × 1.3 cm). Some critics recognized the conceptual drive within Erased de Kooning Drawing, while others called the erasure an act of vandalism. De Kooning, however, gave Rauschenberg the drawing with full knowledge of the artist's intent. Without de Kooning's consent, this action could be more readily seen as vandalism. It was purchased by the SFMOMA in 1998 using a gift from Phyllis Wattis.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: Explain the Existing copies of this artwork, Erased de Kooning Drawing.

No photographs exist of the de Kooning work before its erasure, but in 2010 digital images were made by SFMOMA, as a part of the Rauschenberg Research Project, that enhanced the remaining traces of the underlying drawing. De Kooning's original drawing features several figures facing in different directions, including at least one female, probably made with pencil and charcoal. Some marks may have been erased by de Kooning himself as part of the initial creation of the work.The work, including its frame, measures 25.25 by 21.75 by 0.5 inches (64.1 cm × 55.2 cm × 1.3 cm). Some critics recognized the conceptual drive within Erased de Kooning Drawing, while others called the erasure an act of vandalism. De Kooning, however, gave Rauschenberg the drawing with full knowledge of the artist's intent. Without de Kooning's consent, this action could be more readily seen as vandalism. It was purchased by the SFMOMA in 1998 using a gift from Phyllis Wattis.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: How does Erased de Kooning Drawing explain its Existing copies?

No photographs exist of the de Kooning work before its erasure, but in 2010 digital images were made by SFMOMA, as a part of the Rauschenberg Research Project, that enhanced the remaining traces of the underlying drawing. De Kooning's original drawing features several figures facing in different directions, including at least one female, probably made with pencil and charcoal. Some marks may have been erased by de Kooning himself as part of the initial creation of the work.The work, including its frame, measures 25.25 by 21.75 by 0.5 inches (64.1 cm × 55.2 cm × 1.3 cm). Some critics recognized the conceptual drive within Erased de Kooning Drawing, while others called the erasure an act of vandalism. De Kooning, however, gave Rauschenberg the drawing with full knowledge of the artist's intent. Without de Kooning's consent, this action could be more readily seen as vandalism. It was purchased by the SFMOMA in 1998 using a gift from Phyllis Wattis.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: In Erased de Kooning Drawing, how is the Existing copies discussed?

No photographs exist of the de Kooning work before its erasure, but in 2010 digital images were made by SFMOMA, as a part of the Rauschenberg Research Project, that enhanced the remaining traces of the underlying drawing. De Kooning's original drawing features several figures facing in different directions, including at least one female, probably made with pencil and charcoal. Some marks may have been erased by de Kooning himself as part of the initial creation of the work.The work, including its frame, measures 25.25 by 21.75 by 0.5 inches (64.1 cm × 55.2 cm × 1.3 cm). Some critics recognized the conceptual drive within Erased de Kooning Drawing, while others called the erasure an act of vandalism. De Kooning, however, gave Rauschenberg the drawing with full knowledge of the artist's intent. Without de Kooning's consent, this action could be more readily seen as vandalism. It was purchased by the SFMOMA in 1998 using a gift from Phyllis Wattis.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: Focus on Erased de Kooning Drawing and explain the Relationship to De Kooning and abstract expressionism.

Despite partaking in two different art movements, Rauschenberg had known many of the Abstract Expressionists from his frequent visits to the Cedar Tavern in Greenwich Village. Rauschenberg decided to approach William De Kooning and ask him for a drawing which he could erase.  Rauschenberg was prepared for De Kooning to refuse the request, which would have made the work a performance piece. After Rauschenberg explained the concept for the piece, De Kooning decided to grant his request and provided him with a drawing that De Kooning would "miss". In later years, Rauschenberg would continue to make pieces that explored his relationship to the Abstract Expressionist, action painting and De Kooning himself. His piece Automobile Tire Print, which involved applying ink to the bottom of tires and driving along a 21 foot piece of paper, is typically seen as an homage to De Kooning and his love of brush work and driving.  Rauschenberg's pieces Factum I & Factum II explore the expressive mark making typically used by De Kooning and his colleagues. Factum I consists of mixed media and seemingly "random" marks and paint drips. Factum II is a calculated and painstaking recreation of Factum I. This could be read as Rauschenberg calling into question the authenticity of the Abstract Expressionists and their work.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: Explain the Relationship to De Kooning and abstract expressionism of this artwork, Erased de Kooning Drawing.

Despite partaking in two different art movements, Rauschenberg had known many of the Abstract Expressionists from his frequent visits to the Cedar Tavern in Greenwich Village. Rauschenberg decided to approach William De Kooning and ask him for a drawing which he could erase.  Rauschenberg was prepared for De Kooning to refuse the request, which would have made the work a performance piece. After Rauschenberg explained the concept for the piece, De Kooning decided to grant his request and provided him with a drawing that De Kooning would "miss". In later years, Rauschenberg would continue to make pieces that explored his relationship to the Abstract Expressionist, action painting and De Kooning himself. His piece Automobile Tire Print, which involved applying ink to the bottom of tires and driving along a 21 foot piece of paper, is typically seen as an homage to De Kooning and his love of brush work and driving.  Rauschenberg's pieces Factum I & Factum II explore the expressive mark making typically used by De Kooning and his colleagues. Factum I consists of mixed media and seemingly "random" marks and paint drips. Factum II is a calculated and painstaking recreation of Factum I. This could be read as Rauschenberg calling into question the authenticity of the Abstract Expressionists and their work.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: How does Erased de Kooning Drawing explain its Relationship to De Kooning and abstract expressionism?

Despite partaking in two different art movements, Rauschenberg had known many of the Abstract Expressionists from his frequent visits to the Cedar Tavern in Greenwich Village. Rauschenberg decided to approach William De Kooning and ask him for a drawing which he could erase.  Rauschenberg was prepared for De Kooning to refuse the request, which would have made the work a performance piece. After Rauschenberg explained the concept for the piece, De Kooning decided to grant his request and provided him with a drawing that De Kooning would "miss". In later years, Rauschenberg would continue to make pieces that explored his relationship to the Abstract Expressionist, action painting and De Kooning himself. His piece Automobile Tire Print, which involved applying ink to the bottom of tires and driving along a 21 foot piece of paper, is typically seen as an homage to De Kooning and his love of brush work and driving.  Rauschenberg's pieces Factum I & Factum II explore the expressive mark making typically used by De Kooning and his colleagues. Factum I consists of mixed media and seemingly "random" marks and paint drips. Factum II is a calculated and painstaking recreation of Factum I. This could be read as Rauschenberg calling into question the authenticity of the Abstract Expressionists and their work.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Erased de Kooning Drawing

Prompt: In Erased de Kooning Drawing, how is the Relationship to De Kooning and abstract expressionism discussed?

Despite partaking in two different art movements, Rauschenberg had known many of the Abstract Expressionists from his frequent visits to the Cedar Tavern in Greenwich Village. Rauschenberg decided to approach William De Kooning and ask him for a drawing which he could erase.  Rauschenberg was prepared for De Kooning to refuse the request, which would have made the work a performance piece. After Rauschenberg explained the concept for the piece, De Kooning decided to grant his request and provided him with a drawing that De Kooning would "miss". In later years, Rauschenberg would continue to make pieces that explored his relationship to the Abstract Expressionist, action painting and De Kooning himself. His piece Automobile Tire Print, which involved applying ink to the bottom of tires and driving along a 21 foot piece of paper, is typically seen as an homage to De Kooning and his love of brush work and driving.  Rauschenberg's pieces Factum I & Factum II explore the expressive mark making typically used by De Kooning and his colleagues. Factum I consists of mixed media and seemingly "random" marks and paint drips. Factum II is a calculated and painstaking recreation of Factum I. This could be read as Rauschenberg calling into question the authenticity of the Abstract Expressionists and their work.

mixed media
Category:Jasper Johns
Cedar Tavern
The American Action Painters
Monochrome painting
Abstract expressionism
conceptual art
San Francisco Museum of Modern Art
San Francisco
monochrome
abstract expressionist
Royal Academy
Robert Rauschenberg
Category:1953 works
Royal Academy of Arts
Category:Works by Robert Rauschenberg
Jasper Johns
Abstract Expressionists
Category:Conceptual art
Category:Willem de Kooning
Harold Rosenberg
Willem de Kooning
American action painters
Neo-Dada


Kate Sheppard National Memorial

Prompt: Focus on Kate Sheppard National Memorial and explain the abstract.

The Kate Sheppard National Memorial, located in the city of Christchurch, is New Zealand's first memorial to the women's suffrage campaign, and particularly honours the life of one of the country's leading campaigners for women's suffrage, Kate Sheppard.The idea for the memorial was raised in 1989 as part of plans to commemorate the 100th anniversary of women's suffrage in New Zealand in 1993. A committee was formed to select a design for the memorial, and the design of Dutch-born New Zealand artist Margriet Windhausen was chosen.The memorial is a stone aggregate wall, with a life size bronze relief sculpture of Sheppard and five other women's suffrage leaders. Panels on either side of the sculpture depict scenes of everyday women's lives at the end of the nineteenth century, and carry text describing the struggle for women's suffrage. The whole structure is approximately 5 metres (16 ft) wide and 2 metres (6 ft 7 in) tall.The women featured in the sculpture are (from left to right):Meri Mangakāhia of Te Tai Tokerau, who approached Te Kotahitanga (the Māori parliament) for women's suffrageAmey Daldy of the Auckland Woman's Christian Temperance Union.Kate SheppardAda Wells, a campaigner for girls' educationHarriet Morison, an advocate for working women, also from DunedinHelen Nicol, a women's suffrage campaigner who lived in DunedinThe group of women are depicted carrying their petition for women's suffrage to Parliament in a wooden cart.The memorial was unveiled on 19 September 1993, the 100th anniversary of women's suffrage in New Zealand, by Dame Catherine Tizard, the Governor-General of New Zealand. A time capsule containing news articles and information on women's lives in 1993 was placed inside the monument.The memorial is located in a landscaped area known as the Kate Sheppard National Memorial Reserve, beside the Avon River and adjacent to a heritage building, Our City (the Old Municipal Chambers) near the corner of Worcester Street and Oxford Terrace.  This building was damaged in the 2010 Canterbury earthquake and the memorial was behind barricades while the building was assessed. In a ceremony presided over by the Mayor of Christchurch, Lianne Dalziel, in June 2014, the memorial was liberated from the barricades and public access was restored.

Category:Monuments and memorials to women's suffrage

Category:Sculptures of women in New Zealand

Category:Monuments and memorials in New Zealand

List of monuments and memorials to women's suffrage

Category:Cultural depictions of Kate Sheppard

Category:Cultural depictions of activists

Category:Outdoor sculptures in Christchurch

Category:Bronze sculptures in New Zealand

The entire memorial with bas-relief and side panels

File:Tribute to the Suffragettes, Christchurch, NZ.jpg

Category:Women's suffrage in New Zealand


Kate Sheppard National Memorial

Prompt: Explain the abstract of this artwork, Kate Sheppard National Memorial.

The Kate Sheppard National Memorial, located in the city of Christchurch, is New Zealand's first memorial to the women's suffrage campaign, and particularly honours the life of one of the country's leading campaigners for women's suffrage, Kate Sheppard.The idea for the memorial was raised in 1989 as part of plans to commemorate the 100th anniversary of women's suffrage in New Zealand in 1993. A committee was formed to select a design for the memorial, and the design of Dutch-born New Zealand artist Margriet Windhausen was chosen.The memorial is a stone aggregate wall, with a life size bronze relief sculpture of Sheppard and five other women's suffrage leaders. Panels on either side of the sculpture depict scenes of everyday women's lives at the end of the nineteenth century, and carry text describing the struggle for women's suffrage. The whole structure is approximately 5 metres (16 ft) wide and 2 metres (6 ft 7 in) tall.The women featured in the sculpture are (from left to right):Meri Mangakāhia of Te Tai Tokerau, who approached Te Kotahitanga (the Māori parliament) for women's suffrageAmey Daldy of the Auckland Woman's Christian Temperance Union.Kate SheppardAda Wells, a campaigner for girls' educationHarriet Morison, an advocate for working women, also from DunedinHelen Nicol, a women's suffrage campaigner who lived in DunedinThe group of women are depicted carrying their petition for women's suffrage to Parliament in a wooden cart.The memorial was unveiled on 19 September 1993, the 100th anniversary of women's suffrage in New Zealand, by Dame Catherine Tizard, the Governor-General of New Zealand. A time capsule containing news articles and information on women's lives in 1993 was placed inside the monument.The memorial is located in a landscaped area known as the Kate Sheppard National Memorial Reserve, beside the Avon River and adjacent to a heritage building, Our City (the Old Municipal Chambers) near the corner of Worcester Street and Oxford Terrace.  This building was damaged in the 2010 Canterbury earthquake and the memorial was behind barricades while the building was assessed. In a ceremony presided over by the Mayor of Christchurch, Lianne Dalziel, in June 2014, the memorial was liberated from the barricades and public access was restored.

Category:Monuments and memorials to women's suffrage

Category:Sculptures of women in New Zealand

Category:Monuments and memorials in New Zealand

List of monuments and memorials to women's suffrage

Category:Cultural depictions of Kate Sheppard

Category:Cultural depictions of activists

Category:Outdoor sculptures in Christchurch

Category:Bronze sculptures in New Zealand

The entire memorial with bas-relief and side panels

File:Tribute to the Suffragettes, Christchurch, NZ.jpg

Category:Women's suffrage in New Zealand


Kate Sheppard National Memorial

Prompt: How does Kate Sheppard National Memorial explain its abstract?

The Kate Sheppard National Memorial, located in the city of Christchurch, is New Zealand's first memorial to the women's suffrage campaign, and particularly honours the life of one of the country's leading campaigners for women's suffrage, Kate Sheppard.The idea for the memorial was raised in 1989 as part of plans to commemorate the 100th anniversary of women's suffrage in New Zealand in 1993. A committee was formed to select a design for the memorial, and the design of Dutch-born New Zealand artist Margriet Windhausen was chosen.The memorial is a stone aggregate wall, with a life size bronze relief sculpture of Sheppard and five other women's suffrage leaders. Panels on either side of the sculpture depict scenes of everyday women's lives at the end of the nineteenth century, and carry text describing the struggle for women's suffrage. The whole structure is approximately 5 metres (16 ft) wide and 2 metres (6 ft 7 in) tall.The women featured in the sculpture are (from left to right):Meri Mangakāhia of Te Tai Tokerau, who approached Te Kotahitanga (the Māori parliament) for women's suffrageAmey Daldy of the Auckland Woman's Christian Temperance Union.Kate SheppardAda Wells, a campaigner for girls' educationHarriet Morison, an advocate for working women, also from DunedinHelen Nicol, a women's suffrage campaigner who lived in DunedinThe group of women are depicted carrying their petition for women's suffrage to Parliament in a wooden cart.The memorial was unveiled on 19 September 1993, the 100th anniversary of women's suffrage in New Zealand, by Dame Catherine Tizard, the Governor-General of New Zealand. A time capsule containing news articles and information on women's lives in 1993 was placed inside the monument.The memorial is located in a landscaped area known as the Kate Sheppard National Memorial Reserve, beside the Avon River and adjacent to a heritage building, Our City (the Old Municipal Chambers) near the corner of Worcester Street and Oxford Terrace.  This building was damaged in the 2010 Canterbury earthquake and the memorial was behind barricades while the building was assessed. In a ceremony presided over by the Mayor of Christchurch, Lianne Dalziel, in June 2014, the memorial was liberated from the barricades and public access was restored.

Category:Monuments and memorials to women's suffrage

Category:Sculptures of women in New Zealand

Category:Monuments and memorials in New Zealand

List of monuments and memorials to women's suffrage

Category:Cultural depictions of Kate Sheppard

Category:Cultural depictions of activists

Category:Outdoor sculptures in Christchurch

Category:Bronze sculptures in New Zealand

The entire memorial with bas-relief and side panels

File:Tribute to the Suffragettes, Christchurch, NZ.jpg

Category:Women's suffrage in New Zealand


Kate Sheppard National Memorial

Prompt: In Kate Sheppard National Memorial, how is the abstract discussed?

The Kate Sheppard National Memorial, located in the city of Christchurch, is New Zealand's first memorial to the women's suffrage campaign, and particularly honours the life of one of the country's leading campaigners for women's suffrage, Kate Sheppard.The idea for the memorial was raised in 1989 as part of plans to commemorate the 100th anniversary of women's suffrage in New Zealand in 1993. A committee was formed to select a design for the memorial, and the design of Dutch-born New Zealand artist Margriet Windhausen was chosen.The memorial is a stone aggregate wall, with a life size bronze relief sculpture of Sheppard and five other women's suffrage leaders. Panels on either side of the sculpture depict scenes of everyday women's lives at the end of the nineteenth century, and carry text describing the struggle for women's suffrage. The whole structure is approximately 5 metres (16 ft) wide and 2 metres (6 ft 7 in) tall.The women featured in the sculpture are (from left to right):Meri Mangakāhia of Te Tai Tokerau, who approached Te Kotahitanga (the Māori parliament) for women's suffrageAmey Daldy of the Auckland Woman's Christian Temperance Union.Kate SheppardAda Wells, a campaigner for girls' educationHarriet Morison, an advocate for working women, also from DunedinHelen Nicol, a women's suffrage campaigner who lived in DunedinThe group of women are depicted carrying their petition for women's suffrage to Parliament in a wooden cart.The memorial was unveiled on 19 September 1993, the 100th anniversary of women's suffrage in New Zealand, by Dame Catherine Tizard, the Governor-General of New Zealand. A time capsule containing news articles and information on women's lives in 1993 was placed inside the monument.The memorial is located in a landscaped area known as the Kate Sheppard National Memorial Reserve, beside the Avon River and adjacent to a heritage building, Our City (the Old Municipal Chambers) near the corner of Worcester Street and Oxford Terrace.  This building was damaged in the 2010 Canterbury earthquake and the memorial was behind barricades while the building was assessed. In a ceremony presided over by the Mayor of Christchurch, Lianne Dalziel, in June 2014, the memorial was liberated from the barricades and public access was restored.

Category:Monuments and memorials to women's suffrage

Category:Sculptures of women in New Zealand

Category:Monuments and memorials in New Zealand

List of monuments and memorials to women's suffrage

Category:Cultural depictions of Kate Sheppard

Category:Cultural depictions of activists

Category:Outdoor sculptures in Christchurch

Category:Bronze sculptures in New Zealand

The entire memorial with bas-relief and side panels

File:Tribute to the Suffragettes, Christchurch, NZ.jpg

Category:Women's suffrage in New Zealand


View of Auvers-sur-Oise

Prompt: Focus on View of Auvers-sur-Oise and explain the abstract.

View of Auvers-sur-Oise is the common English name for a Paul Cézanne painting known by various French names, usually Paysage d'Auvers-sur-Oise, or in the artist's catalogue raisonné, Groupe de maisons, paysage d'île de France. It is believed to have been painted in 1879–80, several years after Cézanne's residence in Auvers-sur-Oise, a small village northwest of Paris. The painting depicts a landscape of Northern France; the exact location has not been determined.Victor Chocquet bought the painting from the artist, and it remained in his family's collection until the early 20th century. Later it came into the possession of Bruno Cassirer, who loaned it to the Kunsthaus Zürich. It was inherited by Cassirer's daughter Sophie, and after her death in 1979 it was accepted in lieu of inheritance tax and allocated to the Ashmolean Museum at Oxford University.Shortly after midnight on New Year's Day 2000, guards at the Ashmolean, responding to a fire alarm, discovered the painting was missing. Police believe the thief or thieves used a smoke bomb and that night's millennium celebrations as a cover for the theft of the museum's only Cézanne and the only painting taken. It has not been recovered.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: Explain the abstract of this artwork, View of Auvers-sur-Oise.

View of Auvers-sur-Oise is the common English name for a Paul Cézanne painting known by various French names, usually Paysage d'Auvers-sur-Oise, or in the artist's catalogue raisonné, Groupe de maisons, paysage d'île de France. It is believed to have been painted in 1879–80, several years after Cézanne's residence in Auvers-sur-Oise, a small village northwest of Paris. The painting depicts a landscape of Northern France; the exact location has not been determined.Victor Chocquet bought the painting from the artist, and it remained in his family's collection until the early 20th century. Later it came into the possession of Bruno Cassirer, who loaned it to the Kunsthaus Zürich. It was inherited by Cassirer's daughter Sophie, and after her death in 1979 it was accepted in lieu of inheritance tax and allocated to the Ashmolean Museum at Oxford University.Shortly after midnight on New Year's Day 2000, guards at the Ashmolean, responding to a fire alarm, discovered the painting was missing. Police believe the thief or thieves used a smoke bomb and that night's millennium celebrations as a cover for the theft of the museum's only Cézanne and the only painting taken. It has not been recovered.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: How does View of Auvers-sur-Oise explain its abstract?

View of Auvers-sur-Oise is the common English name for a Paul Cézanne painting known by various French names, usually Paysage d'Auvers-sur-Oise, or in the artist's catalogue raisonné, Groupe de maisons, paysage d'île de France. It is believed to have been painted in 1879–80, several years after Cézanne's residence in Auvers-sur-Oise, a small village northwest of Paris. The painting depicts a landscape of Northern France; the exact location has not been determined.Victor Chocquet bought the painting from the artist, and it remained in his family's collection until the early 20th century. Later it came into the possession of Bruno Cassirer, who loaned it to the Kunsthaus Zürich. It was inherited by Cassirer's daughter Sophie, and after her death in 1979 it was accepted in lieu of inheritance tax and allocated to the Ashmolean Museum at Oxford University.Shortly after midnight on New Year's Day 2000, guards at the Ashmolean, responding to a fire alarm, discovered the painting was missing. Police believe the thief or thieves used a smoke bomb and that night's millennium celebrations as a cover for the theft of the museum's only Cézanne and the only painting taken. It has not been recovered.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: In View of Auvers-sur-Oise, how is the abstract discussed?

View of Auvers-sur-Oise is the common English name for a Paul Cézanne painting known by various French names, usually Paysage d'Auvers-sur-Oise, or in the artist's catalogue raisonné, Groupe de maisons, paysage d'île de France. It is believed to have been painted in 1879–80, several years after Cézanne's residence in Auvers-sur-Oise, a small village northwest of Paris. The painting depicts a landscape of Northern France; the exact location has not been determined.Victor Chocquet bought the painting from the artist, and it remained in his family's collection until the early 20th century. Later it came into the possession of Bruno Cassirer, who loaned it to the Kunsthaus Zürich. It was inherited by Cassirer's daughter Sophie, and after her death in 1979 it was accepted in lieu of inheritance tax and allocated to the Ashmolean Museum at Oxford University.Shortly after midnight on New Year's Day 2000, guards at the Ashmolean, responding to a fire alarm, discovered the painting was missing. Police believe the thief or thieves used a smoke bomb and that night's millennium celebrations as a cover for the theft of the museum's only Cézanne and the only painting taken. It has not been recovered.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: Focus on View of Auvers-sur-Oise and explain the Description.

The oil-on-canvas painting depicts a rolling landscape below a blue sky filled with clouds, represented as smears of paint. Down a green slope from the viewer are a group of houses, white with roofs either blue or orange, again not depicted in detail. Scattered among them are trees, most green, but some with more yellowish color apparent. In the background another hillside with houses amid trees rises; a church spire rises at the crest.The location of the landscape depicted in the painting is unknown. The painting is 46 centimetres (18 in) high by 55 centimetres (22 in) wide. Cézanne's signature is in red paint at the lower left.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: Explain the Description of this artwork, View of Auvers-sur-Oise.

The oil-on-canvas painting depicts a rolling landscape below a blue sky filled with clouds, represented as smears of paint. Down a green slope from the viewer are a group of houses, white with roofs either blue or orange, again not depicted in detail. Scattered among them are trees, most green, but some with more yellowish color apparent. In the background another hillside with houses amid trees rises; a church spire rises at the crest.The location of the landscape depicted in the painting is unknown. The painting is 46 centimetres (18 in) high by 55 centimetres (22 in) wide. Cézanne's signature is in red paint at the lower left.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: How does View of Auvers-sur-Oise explain its Description?

The oil-on-canvas painting depicts a rolling landscape below a blue sky filled with clouds, represented as smears of paint. Down a green slope from the viewer are a group of houses, white with roofs either blue or orange, again not depicted in detail. Scattered among them are trees, most green, but some with more yellowish color apparent. In the background another hillside with houses amid trees rises; a church spire rises at the crest.The location of the landscape depicted in the painting is unknown. The painting is 46 centimetres (18 in) high by 55 centimetres (22 in) wide. Cézanne's signature is in red paint at the lower left.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: In View of Auvers-sur-Oise, how is the Description discussed?

The oil-on-canvas painting depicts a rolling landscape below a blue sky filled with clouds, represented as smears of paint. Down a green slope from the viewer are a group of houses, white with roofs either blue or orange, again not depicted in detail. Scattered among them are trees, most green, but some with more yellowish color apparent. In the background another hillside with houses amid trees rises; a church spire rises at the crest.The location of the landscape depicted in the painting is unknown. The painting is 46 centimetres (18 in) high by 55 centimetres (22 in) wide. Cézanne's signature is in red paint at the lower left.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: Focus on View of Auvers-sur-Oise and explain the History.

Camille Pissarro, whom Cézanne came to see as both friend and mentor, moved to Pontoise, a small country town northwest of Paris, in 1872 after his previous country residence in Louveciennes, west of Paris, was stripped of all its contents while he was in Paris during the Franco-Prussian War two years earlier. The following year, Cézanne moved to neighboring Auvers-sur-Oise, where he and Pissarro lived within walking distance of each other, and often painted side by side in plein air. They painted the same subjects, but in different and distinctive works.The two were trying to capture the "perception of sensation" in their work. Cézanne's style, especially in his landscapes, reflected the influence of his fellow artist, even as the two preferred different techniques—Pissarro dabbing while Cézanne daubed or smeared, according to a local resident who watched them both paint. Cézanne began using brighter colors than he had previously, with less stark contrasts.A catalogue to a 2006 joint exhibition of their work from this period at the Musée d'Orsay in Paris calls the two Impressionism's "painters of the earth", counterparts to its two "painters of water", Claude Monet and Alfred Sisley. But "with Cézanne the spectator is openly invited to observe the way he portrays surfaces" the catalog observes. "Shapes are simplified and each brushstroke is amplified. His paintings are intense reflections of his method."View of Auvers-sur-Oise was painted later, in 1879–80. By this time, Cézanne was preparing to leave Paris and return to his native Aix-en-Provence, where he continued painting in this style, including similar landscapes, moving toward Post-Impressionism. Ashmolean Museum director Christopher Brown describes the painting as important to understanding the artist's career, showing him transitioning from his early work to the mature style he brought to well-known later works.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: Explain the History of this artwork, View of Auvers-sur-Oise.

Camille Pissarro, whom Cézanne came to see as both friend and mentor, moved to Pontoise, a small country town northwest of Paris, in 1872 after his previous country residence in Louveciennes, west of Paris, was stripped of all its contents while he was in Paris during the Franco-Prussian War two years earlier. The following year, Cézanne moved to neighboring Auvers-sur-Oise, where he and Pissarro lived within walking distance of each other, and often painted side by side in plein air. They painted the same subjects, but in different and distinctive works.The two were trying to capture the "perception of sensation" in their work. Cézanne's style, especially in his landscapes, reflected the influence of his fellow artist, even as the two preferred different techniques—Pissarro dabbing while Cézanne daubed or smeared, according to a local resident who watched them both paint. Cézanne began using brighter colors than he had previously, with less stark contrasts.A catalogue to a 2006 joint exhibition of their work from this period at the Musée d'Orsay in Paris calls the two Impressionism's "painters of the earth", counterparts to its two "painters of water", Claude Monet and Alfred Sisley. But "with Cézanne the spectator is openly invited to observe the way he portrays surfaces" the catalog observes. "Shapes are simplified and each brushstroke is amplified. His paintings are intense reflections of his method."View of Auvers-sur-Oise was painted later, in 1879–80. By this time, Cézanne was preparing to leave Paris and return to his native Aix-en-Provence, where he continued painting in this style, including similar landscapes, moving toward Post-Impressionism. Ashmolean Museum director Christopher Brown describes the painting as important to understanding the artist's career, showing him transitioning from his early work to the mature style he brought to well-known later works.

File:Ashmolean museum, Oxford, Entrance Screen And Steps Fronting Beaumont Street.jpg


View of Auvers-sur-Oise

Prompt: How does View of Auvers-sur-Oise explain its History?

Camille Pissarro, whom Cézanne came to see as both friend and mentor, moved to Pontoise, a small country town northwest of Paris, in 1872 after his previous country residence in Louveciennes, west of Paris, was stripped of all its contents while he was in Paris during the Franco-Prussian War two years earlier. The following year, Cézanne moved to neighboring Auvers-sur-Oise, where he and Pissarro lived within walking distance of each other, and often painted side by side in plein air. They painted the same subjects, but in different and distinctive works.The two were trying to capture the "perception of sensation" in their work. Cézanne's style, especially in his landscapes, reflected the influence of his fellow artist, even as the two preferred different techniques—Pissarro dabbing while Cézanne daubed or smeared, according to a local resident who watched them both paint. Cézanne began using brighter colors than he had previously, with less stark contrasts.A catalogue to a 2006 joint exhibition of their work from this period at the Musée d'Orsay in Paris calls the two Impressionism's "painters of the earth", counterparts to its two "painters of water", Claude Monet and Alfred Sisley. But "with Cézanne the spectator is openly invited to observe the way he portrays surfaces" the catalog observes. "Shapes are simplified and each brushstroke is amplified. His paintings are intense reflections of his method."View of Auvers-sur-Oise was painted later, in 1879–80. By this time, Cézanne was preparing to leave Paris and return to his native Aix-en-Provence, where he continued painting in this style, including similar landscapes, moving toward Post-Impressionism. Ashmolean Museum director Christopher Brown describes the painting as important to understanding the artist's career, showing him transitioning from his early work to the mature style he brought to well-known later works.

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