Woman with a Hat (Metzinger)

Prompt: Focus on Woman with a Hat (Metzinger) and explain the History.

In 1905, Matisse, Metzinger and Delaunay experimented with the technique of Divisionism, elaborating on the Neo-Impressionist principles of Georges Seurat, Henri-Edmond Cross and Paul Signac. Rather than using small pointillist patches of pure color, they began to employ larger brushstrokes of mixed color, forming patterns that resembled Byzantine mosaics. Signac and Cross evolved similarly, working in close contact with Matisse in Saint-Tropez during the summer of 1904. In Collioure the following year, Matisse painted his first fauve works alongside Derain.In Femme au Chapeau, Metzinger pushed his Divisionist style further. The size of his cubes and the brightness of his color increase, without however tending toward a purely Fauve appearance. In contrast the Fauves, Metzinger's interest mathematics and geometry imbues his pairings with a sense of order, symmetry and the structured faceting. These characteristics inherent in Femme au Chapeau differ from Matisse's version of the subject. Metzinger emphasizes the boundaries of  colored areas in a fashion not dissimilar to the Synthetist style of Paul Sérusier or Paul Gauguin, structured in various planes as the facets of crystals: something that would present itself in the artists subsequent phase associated with Cubism.Metzinger explained his ideas to the American writer Gelett Burgess circa 1908-09: "Instead of copying nature...we create a milieu of our own wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy with literature and music... Music does not attempt to imitate nature's sounds, but it does interpret and embody emotions awakened by nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking our hint from Nature, construct decoratively pleasing harmonies and symphonies of color expressive of our sentiment" (quoted in G. Burgess, "Wild Men of Paris," Architectural Record, May 1910, p. 413).Christie's writes of Metzinger's Femme au chapeau in their Lot Notes: "The firmly drawn construction of Metzinger's pictorial design superimposes hardness and solidity on every part of the artist's subject, and the background as well, in Femme au chapeau. This is an intended effect, which Metzinger contrasts by rendering these forms in a divisionist technique, which softens and refines the overall impact of the picture. Metzinger stated, "I ask of divided brushwork not the objective rendering of light, but irridescences and certain aspects of color still foreign to painting. I make a kind of chromatic versification, and for syllables, I use strokes which, variable in quality, cannot differ in dimension without modifying the rhythm of a picture phraseology destined to translate the diverse emotions aroused by nature" (quoted in R. Herbert, Neo-Impressionism, exh. cat., The Solomon R. Guggenheim Museum, New York, 1968, p. 221).Following his youthful foray into divisionism, Metzinger turned briefly to a robust, Gauguinesque manner in rendering the figure, using strong outlines and flat areas of color. Then, in 1910, he became involved in the early development of Cubism, a decision that shaped his mature style. Burgess in his article did not hide a preference for Metzinger's paintings of 1907-1909: "Metzinger once did gorgeous mosaics of pure pigment, each little square of pigment not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair" (op. cit.).

File:Chapeau tendu orné d'un grand nœud de taffetas, 1911.jpg

Chapeau tendu orné d'un grand nœud de taffetas, Grands magasin du Louvre Paris; Saison d'hiver 1911–12


Woman with a Hat (Metzinger)

Prompt: Explain the History of this artwork, Woman with a Hat (Metzinger).

In 1905, Matisse, Metzinger and Delaunay experimented with the technique of Divisionism, elaborating on the Neo-Impressionist principles of Georges Seurat, Henri-Edmond Cross and Paul Signac. Rather than using small pointillist patches of pure color, they began to employ larger brushstrokes of mixed color, forming patterns that resembled Byzantine mosaics. Signac and Cross evolved similarly, working in close contact with Matisse in Saint-Tropez during the summer of 1904. In Collioure the following year, Matisse painted his first fauve works alongside Derain.In Femme au Chapeau, Metzinger pushed his Divisionist style further. The size of his cubes and the brightness of his color increase, without however tending toward a purely Fauve appearance. In contrast the Fauves, Metzinger's interest mathematics and geometry imbues his pairings with a sense of order, symmetry and the structured faceting. These characteristics inherent in Femme au Chapeau differ from Matisse's version of the subject. Metzinger emphasizes the boundaries of  colored areas in a fashion not dissimilar to the Synthetist style of Paul Sérusier or Paul Gauguin, structured in various planes as the facets of crystals: something that would present itself in the artists subsequent phase associated with Cubism.Metzinger explained his ideas to the American writer Gelett Burgess circa 1908-09: "Instead of copying nature...we create a milieu of our own wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy with literature and music... Music does not attempt to imitate nature's sounds, but it does interpret and embody emotions awakened by nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking our hint from Nature, construct decoratively pleasing harmonies and symphonies of color expressive of our sentiment" (quoted in G. Burgess, "Wild Men of Paris," Architectural Record, May 1910, p. 413).Christie's writes of Metzinger's Femme au chapeau in their Lot Notes: "The firmly drawn construction of Metzinger's pictorial design superimposes hardness and solidity on every part of the artist's subject, and the background as well, in Femme au chapeau. This is an intended effect, which Metzinger contrasts by rendering these forms in a divisionist technique, which softens and refines the overall impact of the picture. Metzinger stated, "I ask of divided brushwork not the objective rendering of light, but irridescences and certain aspects of color still foreign to painting. I make a kind of chromatic versification, and for syllables, I use strokes which, variable in quality, cannot differ in dimension without modifying the rhythm of a picture phraseology destined to translate the diverse emotions aroused by nature" (quoted in R. Herbert, Neo-Impressionism, exh. cat., The Solomon R. Guggenheim Museum, New York, 1968, p. 221).Following his youthful foray into divisionism, Metzinger turned briefly to a robust, Gauguinesque manner in rendering the figure, using strong outlines and flat areas of color. Then, in 1910, he became involved in the early development of Cubism, a decision that shaped his mature style. Burgess in his article did not hide a preference for Metzinger's paintings of 1907-1909: "Metzinger once did gorgeous mosaics of pure pigment, each little square of pigment not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair" (op. cit.).

File:Chapeau tendu orné d'un grand nœud de taffetas, 1911.jpg

Chapeau tendu orné d'un grand nœud de taffetas, Grands magasin du Louvre Paris; Saison d'hiver 1911–12


Woman with a Hat (Metzinger)

Prompt: How does Woman with a Hat (Metzinger) explain its History?

In 1905, Matisse, Metzinger and Delaunay experimented with the technique of Divisionism, elaborating on the Neo-Impressionist principles of Georges Seurat, Henri-Edmond Cross and Paul Signac. Rather than using small pointillist patches of pure color, they began to employ larger brushstrokes of mixed color, forming patterns that resembled Byzantine mosaics. Signac and Cross evolved similarly, working in close contact with Matisse in Saint-Tropez during the summer of 1904. In Collioure the following year, Matisse painted his first fauve works alongside Derain.In Femme au Chapeau, Metzinger pushed his Divisionist style further. The size of his cubes and the brightness of his color increase, without however tending toward a purely Fauve appearance. In contrast the Fauves, Metzinger's interest mathematics and geometry imbues his pairings with a sense of order, symmetry and the structured faceting. These characteristics inherent in Femme au Chapeau differ from Matisse's version of the subject. Metzinger emphasizes the boundaries of  colored areas in a fashion not dissimilar to the Synthetist style of Paul Sérusier or Paul Gauguin, structured in various planes as the facets of crystals: something that would present itself in the artists subsequent phase associated with Cubism.Metzinger explained his ideas to the American writer Gelett Burgess circa 1908-09: "Instead of copying nature...we create a milieu of our own wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy with literature and music... Music does not attempt to imitate nature's sounds, but it does interpret and embody emotions awakened by nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking our hint from Nature, construct decoratively pleasing harmonies and symphonies of color expressive of our sentiment" (quoted in G. Burgess, "Wild Men of Paris," Architectural Record, May 1910, p. 413).Christie's writes of Metzinger's Femme au chapeau in their Lot Notes: "The firmly drawn construction of Metzinger's pictorial design superimposes hardness and solidity on every part of the artist's subject, and the background as well, in Femme au chapeau. This is an intended effect, which Metzinger contrasts by rendering these forms in a divisionist technique, which softens and refines the overall impact of the picture. Metzinger stated, "I ask of divided brushwork not the objective rendering of light, but irridescences and certain aspects of color still foreign to painting. I make a kind of chromatic versification, and for syllables, I use strokes which, variable in quality, cannot differ in dimension without modifying the rhythm of a picture phraseology destined to translate the diverse emotions aroused by nature" (quoted in R. Herbert, Neo-Impressionism, exh. cat., The Solomon R. Guggenheim Museum, New York, 1968, p. 221).Following his youthful foray into divisionism, Metzinger turned briefly to a robust, Gauguinesque manner in rendering the figure, using strong outlines and flat areas of color. Then, in 1910, he became involved in the early development of Cubism, a decision that shaped his mature style. Burgess in his article did not hide a preference for Metzinger's paintings of 1907-1909: "Metzinger once did gorgeous mosaics of pure pigment, each little square of pigment not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair" (op. cit.).

File:Chapeau tendu orné d'un grand nœud de taffetas, 1911.jpg

Chapeau tendu orné d'un grand nœud de taffetas, Grands magasin du Louvre Paris; Saison d'hiver 1911–12


Woman with a Hat (Metzinger)

Prompt: In Woman with a Hat (Metzinger), how is the History discussed?

In 1905, Matisse, Metzinger and Delaunay experimented with the technique of Divisionism, elaborating on the Neo-Impressionist principles of Georges Seurat, Henri-Edmond Cross and Paul Signac. Rather than using small pointillist patches of pure color, they began to employ larger brushstrokes of mixed color, forming patterns that resembled Byzantine mosaics. Signac and Cross evolved similarly, working in close contact with Matisse in Saint-Tropez during the summer of 1904. In Collioure the following year, Matisse painted his first fauve works alongside Derain.In Femme au Chapeau, Metzinger pushed his Divisionist style further. The size of his cubes and the brightness of his color increase, without however tending toward a purely Fauve appearance. In contrast the Fauves, Metzinger's interest mathematics and geometry imbues his pairings with a sense of order, symmetry and the structured faceting. These characteristics inherent in Femme au Chapeau differ from Matisse's version of the subject. Metzinger emphasizes the boundaries of  colored areas in a fashion not dissimilar to the Synthetist style of Paul Sérusier or Paul Gauguin, structured in various planes as the facets of crystals: something that would present itself in the artists subsequent phase associated with Cubism.Metzinger explained his ideas to the American writer Gelett Burgess circa 1908-09: "Instead of copying nature...we create a milieu of our own wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy with literature and music... Music does not attempt to imitate nature's sounds, but it does interpret and embody emotions awakened by nature through a convention of its own, in a way to be aesthetically pleasing. In some such way, we, taking our hint from Nature, construct decoratively pleasing harmonies and symphonies of color expressive of our sentiment" (quoted in G. Burgess, "Wild Men of Paris," Architectural Record, May 1910, p. 413).Christie's writes of Metzinger's Femme au chapeau in their Lot Notes: "The firmly drawn construction of Metzinger's pictorial design superimposes hardness and solidity on every part of the artist's subject, and the background as well, in Femme au chapeau. This is an intended effect, which Metzinger contrasts by rendering these forms in a divisionist technique, which softens and refines the overall impact of the picture. Metzinger stated, "I ask of divided brushwork not the objective rendering of light, but irridescences and certain aspects of color still foreign to painting. I make a kind of chromatic versification, and for syllables, I use strokes which, variable in quality, cannot differ in dimension without modifying the rhythm of a picture phraseology destined to translate the diverse emotions aroused by nature" (quoted in R. Herbert, Neo-Impressionism, exh. cat., The Solomon R. Guggenheim Museum, New York, 1968, p. 221).Following his youthful foray into divisionism, Metzinger turned briefly to a robust, Gauguinesque manner in rendering the figure, using strong outlines and flat areas of color. Then, in 1910, he became involved in the early development of Cubism, a decision that shaped his mature style. Burgess in his article did not hide a preference for Metzinger's paintings of 1907-1909: "Metzinger once did gorgeous mosaics of pure pigment, each little square of pigment not quite touching the next, so that an effect of vibrant light should result. He painted exquisite compositions of cloud and cliff and sea; he painted women and made them fair" (op. cit.).

File:Chapeau tendu orné d'un grand nœud de taffetas, 1911.jpg

Chapeau tendu orné d'un grand nœud de taffetas, Grands magasin du Louvre Paris; Saison d'hiver 1911–12


Woman with a Hat (Metzinger)

Prompt: Focus on Woman with a Hat (Metzinger) and explain the Provenance.

Galerie Zak, Paris.Frank Perls Gallery, Bevery Hills.Acquired from the above by Mr. and Mrs. Sidney F. Brody, 20 September 1955.Sale: Christie's, New York, Rockefeller Plaza, 4 May 2010, Lot 27. Estimate $800,000 - $1,200,000. Sold $1,650,500

File:Chapeau tendu orné d'un grand nœud de taffetas, 1911.jpg

Chapeau tendu orné d'un grand nœud de taffetas, Grands magasin du Louvre Paris; Saison d'hiver 1911–12


Woman with a Hat (Metzinger)

Prompt: Explain the Provenance of this artwork, Woman with a Hat (Metzinger).

Galerie Zak, Paris.Frank Perls Gallery, Bevery Hills.Acquired from the above by Mr. and Mrs. Sidney F. Brody, 20 September 1955.Sale: Christie's, New York, Rockefeller Plaza, 4 May 2010, Lot 27. Estimate $800,000 - $1,200,000. Sold $1,650,500

File:Chapeau tendu orné d'un grand nœud de taffetas, 1911.jpg

Chapeau tendu orné d'un grand nœud de taffetas, Grands magasin du Louvre Paris; Saison d'hiver 1911–12


Woman with a Hat (Metzinger)

Prompt: How does Woman with a Hat (Metzinger) explain its Provenance?

Galerie Zak, Paris.Frank Perls Gallery, Bevery Hills.Acquired from the above by Mr. and Mrs. Sidney F. Brody, 20 September 1955.Sale: Christie's, New York, Rockefeller Plaza, 4 May 2010, Lot 27. Estimate $800,000 - $1,200,000. Sold $1,650,500

File:Chapeau tendu orné d'un grand nœud de taffetas, 1911.jpg

Chapeau tendu orné d'un grand nœud de taffetas, Grands magasin du Louvre Paris; Saison d'hiver 1911–12


Woman with a Hat (Metzinger)

Prompt: In Woman with a Hat (Metzinger), how is the Provenance discussed?

Galerie Zak, Paris.Frank Perls Gallery, Bevery Hills.Acquired from the above by Mr. and Mrs. Sidney F. Brody, 20 September 1955.Sale: Christie's, New York, Rockefeller Plaza, 4 May 2010, Lot 27. Estimate $800,000 - $1,200,000. Sold $1,650,500

File:Chapeau tendu orné d'un grand nœud de taffetas, 1911.jpg

Chapeau tendu orné d'un grand nœud de taffetas, Grands magasin du Louvre Paris; Saison d'hiver 1911–12


Alabay Statue

Prompt: Focus on Alabay Statue and explain the abstract.

Alabay Statue (Turkmen: Alabaý heýkeli) is a gilded statue that stands on Ashgabat, Turkmenistan. The 49 feet (15 m) tall gilded statue (the statue itself is 29 feet, the pedestal is 20 feet), depicts a Alabay dog. The statue was created by Turkmen artist Sargart Babaev with the President Gurbanguly Berdimuhamedow's initiative in 2020.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: Explain the abstract of this artwork, Alabay Statue.

Alabay Statue (Turkmen: Alabaý heýkeli) is a gilded statue that stands on Ashgabat, Turkmenistan. The 49 feet (15 m) tall gilded statue (the statue itself is 29 feet, the pedestal is 20 feet), depicts a Alabay dog. The statue was created by Turkmen artist Sargart Babaev with the President Gurbanguly Berdimuhamedow's initiative in 2020.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: How does Alabay Statue explain its abstract?

Alabay Statue (Turkmen: Alabaý heýkeli) is a gilded statue that stands on Ashgabat, Turkmenistan. The 49 feet (15 m) tall gilded statue (the statue itself is 29 feet, the pedestal is 20 feet), depicts a Alabay dog. The statue was created by Turkmen artist Sargart Babaev with the President Gurbanguly Berdimuhamedow's initiative in 2020.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: In Alabay Statue, how is the abstract discussed?

Alabay Statue (Turkmen: Alabaý heýkeli) is a gilded statue that stands on Ashgabat, Turkmenistan. The 49 feet (15 m) tall gilded statue (the statue itself is 29 feet, the pedestal is 20 feet), depicts a Alabay dog. The statue was created by Turkmen artist Sargart Babaev with the President Gurbanguly Berdimuhamedow's initiative in 2020.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: Focus on Alabay Statue and explain the Appearance.

The height of the dog's figure is 6 meters, it is installed on a pedestal 9 meters high. The 15-meter monument is located on an area with a diameter of 36 meters.It is installed at a roundabout along Magtymguly Avenue, in a vast area between Taslama and Tehran streets.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: Explain the Appearance of this artwork, Alabay Statue.

The height of the dog's figure is 6 meters, it is installed on a pedestal 9 meters high. The 15-meter monument is located on an area with a diameter of 36 meters.It is installed at a roundabout along Magtymguly Avenue, in a vast area between Taslama and Tehran streets.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: How does Alabay Statue explain its Appearance?

The height of the dog's figure is 6 meters, it is installed on a pedestal 9 meters high. The 15-meter monument is located on an area with a diameter of 36 meters.It is installed at a roundabout along Magtymguly Avenue, in a vast area between Taslama and Tehran streets.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: In Alabay Statue, how is the Appearance discussed?

The height of the dog's figure is 6 meters, it is installed on a pedestal 9 meters high. The 15-meter monument is located on an area with a diameter of 36 meters.It is installed at a roundabout along Magtymguly Avenue, in a vast area between Taslama and Tehran streets.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: Focus on Alabay Statue and explain the History.

The idea to erect a monument appeared in 2017, with several designs presented in October.Construction began in 2019 and completed in autumn 2020.The official opening of the statue took place in November 2020.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: Explain the History of this artwork, Alabay Statue.

The idea to erect a monument appeared in 2017, with several designs presented in October.Construction began in 2019 and completed in autumn 2020.The official opening of the statue took place in November 2020.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: How does Alabay Statue explain its History?

The idea to erect a monument appeared in 2017, with several designs presented in October.Construction began in 2019 and completed in autumn 2020.The official opening of the statue took place in November 2020.

Category:Buildings and structures in Ashgabat


Alabay Statue

Prompt: In Alabay Statue, how is the History discussed?

The idea to erect a monument appeared in 2017, with several designs presented in October.Construction began in 2019 and completed in autumn 2020.The official opening of the statue took place in November 2020.

Category:Buildings and structures in Ashgabat


Sleep and His Half-Brother Death

Prompt: Focus on Sleep and His Half-Brother Death and explain the abstract.

Sleep and His Half-Brother Death is a painting by John William Waterhouse completed in 1874.Waterhouse's first Royal Academy exhibit (submitted from his father's house at 1 Scarsdale Villas), it was painted after both his younger brothers died of tuberculosis.

List of paintings by John William Waterhouse

Category:Paintings by John William Waterhouse


Sleep and His Half-Brother Death

Prompt: Explain the abstract of this artwork, Sleep and His Half-Brother Death.

Sleep and His Half-Brother Death is a painting by John William Waterhouse completed in 1874.Waterhouse's first Royal Academy exhibit (submitted from his father's house at 1 Scarsdale Villas), it was painted after both his younger brothers died of tuberculosis.

List of paintings by John William Waterhouse

Category:Paintings by John William Waterhouse


Sleep and His Half-Brother Death

Prompt: How does Sleep and His Half-Brother Death explain its abstract?

Sleep and His Half-Brother Death is a painting by John William Waterhouse completed in 1874.Waterhouse's first Royal Academy exhibit (submitted from his father's house at 1 Scarsdale Villas), it was painted after both his younger brothers died of tuberculosis.

List of paintings by John William Waterhouse

Category:Paintings by John William Waterhouse


Sleep and His Half-Brother Death

Prompt: In Sleep and His Half-Brother Death, how is the abstract discussed?

Sleep and His Half-Brother Death is a painting by John William Waterhouse completed in 1874.Waterhouse's first Royal Academy exhibit (submitted from his father's house at 1 Scarsdale Villas), it was painted after both his younger brothers died of tuberculosis.

List of paintings by John William Waterhouse

Category:Paintings by John William Waterhouse


Sleep and His Half-Brother Death

Prompt: Focus on Sleep and His Half-Brother Death and explain the Hypnos and Thanatos.

The painting itself is a reference to the Greek gods Hypnos (sleep) and Thanatos (death) who, in the Greek mythology, were brothers. Despite their similar poses in the painting, the character in the foreground is bathed in light, while his brother is shrouded in darkness; the first therefore represents Sleep, the latter Death. The personification of Sleep clasps poppies, symbolic of narcosis and dreamlike-states.

List of paintings by John William Waterhouse

Category:Paintings by John William Waterhouse


Sleep and His Half-Brother Death

Prompt: Explain the Hypnos and Thanatos of this artwork, Sleep and His Half-Brother Death.

The painting itself is a reference to the Greek gods Hypnos (sleep) and Thanatos (death) who, in the Greek mythology, were brothers. Despite their similar poses in the painting, the character in the foreground is bathed in light, while his brother is shrouded in darkness; the first therefore represents Sleep, the latter Death. The personification of Sleep clasps poppies, symbolic of narcosis and dreamlike-states.

List of paintings by John William Waterhouse

Category:Paintings by John William Waterhouse


Sleep and His Half-Brother Death

Prompt: How does Sleep and His Half-Brother Death explain its Hypnos and Thanatos?

The painting itself is a reference to the Greek gods Hypnos (sleep) and Thanatos (death) who, in the Greek mythology, were brothers. Despite their similar poses in the painting, the character in the foreground is bathed in light, while his brother is shrouded in darkness; the first therefore represents Sleep, the latter Death. The personification of Sleep clasps poppies, symbolic of narcosis and dreamlike-states.

List of paintings by John William Waterhouse

Category:Paintings by John William Waterhouse


Sleep and His Half-Brother Death

Prompt: In Sleep and His Half-Brother Death, how is the Hypnos and Thanatos discussed?

The painting itself is a reference to the Greek gods Hypnos (sleep) and Thanatos (death) who, in the Greek mythology, were brothers. Despite their similar poses in the painting, the character in the foreground is bathed in light, while his brother is shrouded in darkness; the first therefore represents Sleep, the latter Death. The personification of Sleep clasps poppies, symbolic of narcosis and dreamlike-states.

List of paintings by John William Waterhouse

Category:Paintings by John William Waterhouse


Prompt: Focus on Saints Jerome and Mary Magdalen (Bernini) and explain the abstract.

Saints Jerome and Mary Magdalen are two sculptures by the Italian artist Gianlorenzo Bernini. They sit in the Chigi Chapel of Siena Cathedral. The statues were commissioned as part of the chapel by the then–pope Alexander VII (Fabio Chigi).Work began on the sculptures in 1661 and they were delivered from Rome to Siena in 1663. Bernini was paid 2,128 scudi for his work, although he probably received considerable assistance in their creation.Within the chapel, there are a further two sculptures by artists from Bernini's workshop - a St Catherine of Siena by Ercole Ferrata and a St Bernard of Siena by Antonio Raggi. The chapel as a whole was designed by Bernini.Scholars have emphasised the mystical experience being undergone by the figures. Rudolf Wittkower documents the "intensification of the visionary quality" in the statues, both figures engaged not in the physical world around them, but absorbed in their own spiritual spaces. Howard Hibbard continues this line of argument, demonstrating how the figures break out of the niches which are supposed to contain them—further evidence of how Jerome and Mary Magdalen are not constrained by the earthly world but responding to something higher.A preparatory drawing for the Mary Magdalen exists at the Leipzig Museum of Fine Arts, while there is preparatory sculpture of Jerome's head in the Fogg Art Museum of Harvard University.

Category:Sculptures by Gian Lorenzo Bernini


Prompt: Explain the abstract of this artwork, Saints Jerome and Mary Magdalen (Bernini).

Saints Jerome and Mary Magdalen are two sculptures by the Italian artist Gianlorenzo Bernini. They sit in the Chigi Chapel of Siena Cathedral. The statues were commissioned as part of the chapel by the then–pope Alexander VII (Fabio Chigi).Work began on the sculptures in 1661 and they were delivered from Rome to Siena in 1663. Bernini was paid 2,128 scudi for his work, although he probably received considerable assistance in their creation.Within the chapel, there are a further two sculptures by artists from Bernini's workshop - a St Catherine of Siena by Ercole Ferrata and a St Bernard of Siena by Antonio Raggi. The chapel as a whole was designed by Bernini.Scholars have emphasised the mystical experience being undergone by the figures. Rudolf Wittkower documents the "intensification of the visionary quality" in the statues, both figures engaged not in the physical world around them, but absorbed in their own spiritual spaces. Howard Hibbard continues this line of argument, demonstrating how the figures break out of the niches which are supposed to contain them—further evidence of how Jerome and Mary Magdalen are not constrained by the earthly world but responding to something higher.A preparatory drawing for the Mary Magdalen exists at the Leipzig Museum of Fine Arts, while there is preparatory sculpture of Jerome's head in the Fogg Art Museum of Harvard University.

Category:Sculptures by Gian Lorenzo Bernini


Prompt: How does Saints Jerome and Mary Magdalen (Bernini) explain its abstract?

Saints Jerome and Mary Magdalen are two sculptures by the Italian artist Gianlorenzo Bernini. They sit in the Chigi Chapel of Siena Cathedral. The statues were commissioned as part of the chapel by the then–pope Alexander VII (Fabio Chigi).Work began on the sculptures in 1661 and they were delivered from Rome to Siena in 1663. Bernini was paid 2,128 scudi for his work, although he probably received considerable assistance in their creation.Within the chapel, there are a further two sculptures by artists from Bernini's workshop - a St Catherine of Siena by Ercole Ferrata and a St Bernard of Siena by Antonio Raggi. The chapel as a whole was designed by Bernini.Scholars have emphasised the mystical experience being undergone by the figures. Rudolf Wittkower documents the "intensification of the visionary quality" in the statues, both figures engaged not in the physical world around them, but absorbed in their own spiritual spaces. Howard Hibbard continues this line of argument, demonstrating how the figures break out of the niches which are supposed to contain them—further evidence of how Jerome and Mary Magdalen are not constrained by the earthly world but responding to something higher.A preparatory drawing for the Mary Magdalen exists at the Leipzig Museum of Fine Arts, while there is preparatory sculpture of Jerome's head in the Fogg Art Museum of Harvard University.

Category:Sculptures by Gian Lorenzo Bernini


Prompt: In Saints Jerome and Mary Magdalen (Bernini), how is the abstract discussed?

Saints Jerome and Mary Magdalen are two sculptures by the Italian artist Gianlorenzo Bernini. They sit in the Chigi Chapel of Siena Cathedral. The statues were commissioned as part of the chapel by the then–pope Alexander VII (Fabio Chigi).Work began on the sculptures in 1661 and they were delivered from Rome to Siena in 1663. Bernini was paid 2,128 scudi for his work, although he probably received considerable assistance in their creation.Within the chapel, there are a further two sculptures by artists from Bernini's workshop - a St Catherine of Siena by Ercole Ferrata and a St Bernard of Siena by Antonio Raggi. The chapel as a whole was designed by Bernini.Scholars have emphasised the mystical experience being undergone by the figures. Rudolf Wittkower documents the "intensification of the visionary quality" in the statues, both figures engaged not in the physical world around them, but absorbed in their own spiritual spaces. Howard Hibbard continues this line of argument, demonstrating how the figures break out of the niches which are supposed to contain them—further evidence of how Jerome and Mary Magdalen are not constrained by the earthly world but responding to something higher.A preparatory drawing for the Mary Magdalen exists at the Leipzig Museum of Fine Arts, while there is preparatory sculpture of Jerome's head in the Fogg Art Museum of Harvard University.

Category:Sculptures by Gian Lorenzo Bernini


Pia de' Tolomei (Rossetti)

Prompt: Focus on Pia de' Tolomei (Rossetti) and explain the abstract.

Pia de' Tolomei is an oil painting on canvas by English artist Dante Gabriel Rossetti, painted around 1868 and now in the Spencer Museum of Art, on the campus of the University of Kansas in Lawrence, Kansas.

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Pia de' Tolomei (Rossetti)

Prompt: Explain the abstract of this artwork, Pia de' Tolomei (Rossetti).

Pia de' Tolomei is an oil painting on canvas by English artist Dante Gabriel Rossetti, painted around 1868 and now in the Spencer Museum of Art, on the campus of the University of Kansas in Lawrence, Kansas.

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Pia de' Tolomei (Rossetti)

Prompt: How does Pia de' Tolomei (Rossetti) explain its abstract?

Pia de' Tolomei is an oil painting on canvas by English artist Dante Gabriel Rossetti, painted around 1868 and now in the Spencer Museum of Art, on the campus of the University of Kansas in Lawrence, Kansas.

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Pia de' Tolomei (Rossetti)

Prompt: In Pia de' Tolomei (Rossetti), how is the abstract discussed?

Pia de' Tolomei is an oil painting on canvas by English artist Dante Gabriel Rossetti, painted around 1868 and now in the Spencer Museum of Art, on the campus of the University of Kansas in Lawrence, Kansas.

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Pia de' Tolomei (Rossetti)

Prompt: Focus on Pia de' Tolomei (Rossetti) and explain the History.

This work was painted at the start of Rossetti's affair with Jane Morris, who modelled for the picture. As he was to do with Beata Beatrix (1870), Rossetti chose a tale by Dante Aligheri (from Purgatorio) to illustrate his love for his model. The story tells of a woman whose husband imprisoned and later poisoned her: Rossetti wanted the world to believe the fantasy with which he was deluding himself – that William Morris kept Jane against her will. He continued this theme, as shown in Proserpine.Rossetti not only drew Jane exhaustively, he also choreographed photographic sessions of her and used the photographs as preliminary sketches for drawings. Amongst other representations of her, Rossetti depicts Jane as Proserpine, Queen Guinevere and Desdemona – all of whom were at the mercy of men.Jane appears disproportionately large in most of Rossetti's pictures. The background is immaterial as long as the viewer focuses on the beauty of her face. In Pia de' Tolomei her elongated neck seems almost dislocated, and the whiteness of her skin shines out, defying the viewer to pay attention to any other aspects of the painting. Morris' hair colour is misrepresented in the painting. Her natural colour was dark brown, yet Rossetti paints it with an auburn tinge – closer to Lizzie Siddal's hair colour than Morris'. Also, her hands are twisted and intertwined in a peculiar way.

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Pia de' Tolomei (Rossetti)

Prompt: Explain the History of this artwork, Pia de' Tolomei (Rossetti).

This work was painted at the start of Rossetti's affair with Jane Morris, who modelled for the picture. As he was to do with Beata Beatrix (1870), Rossetti chose a tale by Dante Aligheri (from Purgatorio) to illustrate his love for his model. The story tells of a woman whose husband imprisoned and later poisoned her: Rossetti wanted the world to believe the fantasy with which he was deluding himself – that William Morris kept Jane against her will. He continued this theme, as shown in Proserpine.Rossetti not only drew Jane exhaustively, he also choreographed photographic sessions of her and used the photographs as preliminary sketches for drawings. Amongst other representations of her, Rossetti depicts Jane as Proserpine, Queen Guinevere and Desdemona – all of whom were at the mercy of men.Jane appears disproportionately large in most of Rossetti's pictures. The background is immaterial as long as the viewer focuses on the beauty of her face. In Pia de' Tolomei her elongated neck seems almost dislocated, and the whiteness of her skin shines out, defying the viewer to pay attention to any other aspects of the painting. Morris' hair colour is misrepresented in the painting. Her natural colour was dark brown, yet Rossetti paints it with an auburn tinge – closer to Lizzie Siddal's hair colour than Morris'. Also, her hands are twisted and intertwined in a peculiar way.

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Pia de' Tolomei (Rossetti)

Prompt: How does Pia de' Tolomei (Rossetti) explain its History?

This work was painted at the start of Rossetti's affair with Jane Morris, who modelled for the picture. As he was to do with Beata Beatrix (1870), Rossetti chose a tale by Dante Aligheri (from Purgatorio) to illustrate his love for his model. The story tells of a woman whose husband imprisoned and later poisoned her: Rossetti wanted the world to believe the fantasy with which he was deluding himself – that William Morris kept Jane against her will. He continued this theme, as shown in Proserpine.Rossetti not only drew Jane exhaustively, he also choreographed photographic sessions of her and used the photographs as preliminary sketches for drawings. Amongst other representations of her, Rossetti depicts Jane as Proserpine, Queen Guinevere and Desdemona – all of whom were at the mercy of men.Jane appears disproportionately large in most of Rossetti's pictures. The background is immaterial as long as the viewer focuses on the beauty of her face. In Pia de' Tolomei her elongated neck seems almost dislocated, and the whiteness of her skin shines out, defying the viewer to pay attention to any other aspects of the painting. Morris' hair colour is misrepresented in the painting. Her natural colour was dark brown, yet Rossetti paints it with an auburn tinge – closer to Lizzie Siddal's hair colour than Morris'. Also, her hands are twisted and intertwined in a peculiar way.

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Pia de' Tolomei (Rossetti)

Prompt: In Pia de' Tolomei (Rossetti), how is the History discussed?

This work was painted at the start of Rossetti's affair with Jane Morris, who modelled for the picture. As he was to do with Beata Beatrix (1870), Rossetti chose a tale by Dante Aligheri (from Purgatorio) to illustrate his love for his model. The story tells of a woman whose husband imprisoned and later poisoned her: Rossetti wanted the world to believe the fantasy with which he was deluding himself – that William Morris kept Jane against her will. He continued this theme, as shown in Proserpine.Rossetti not only drew Jane exhaustively, he also choreographed photographic sessions of her and used the photographs as preliminary sketches for drawings. Amongst other representations of her, Rossetti depicts Jane as Proserpine, Queen Guinevere and Desdemona – all of whom were at the mercy of men.Jane appears disproportionately large in most of Rossetti's pictures. The background is immaterial as long as the viewer focuses on the beauty of her face. In Pia de' Tolomei her elongated neck seems almost dislocated, and the whiteness of her skin shines out, defying the viewer to pay attention to any other aspects of the painting. Morris' hair colour is misrepresented in the painting. Her natural colour was dark brown, yet Rossetti paints it with an auburn tinge – closer to Lizzie Siddal's hair colour than Morris'. Also, her hands are twisted and intertwined in a peculiar way.

Category:Paintings by Dante Gabriel Rossetti

Category:Paintings based on works by Dante Alighieri

List of paintings by Dante Gabriel Rossetti


Prompt: Focus on Actor Nakamura Shikan II as Satake Shinjuro and explain the abstract.

Actor Nakamura Shikan II as Satake Shinjūrō is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Shungyōsai Hokusei (fl. 1826–1827). It depicts celebrated kabuki actor Nakamura Shikan II as a character in the play Keisei Asoyama Sakura. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Explain the abstract of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.

Actor Nakamura Shikan II as Satake Shinjūrō is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Shungyōsai Hokusei (fl. 1826–1827). It depicts celebrated kabuki actor Nakamura Shikan II as a character in the play Keisei Asoyama Sakura. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: How does Actor Nakamura Shikan II as Satake Shinjuro explain its abstract?

Actor Nakamura Shikan II as Satake Shinjūrō is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Shungyōsai Hokusei (fl. 1826–1827). It depicts celebrated kabuki actor Nakamura Shikan II as a character in the play Keisei Asoyama Sakura. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In Actor Nakamura Shikan II as Satake Shinjuro, how is the abstract discussed?

Actor Nakamura Shikan II as Satake Shinjūrō is an ukiyo-e woodblock print by Osaka-based late Edo period print designer Shungyōsai Hokusei (fl. 1826–1827). It depicts celebrated kabuki actor Nakamura Shikan II as a character in the play Keisei Asoyama Sakura. The print belongs to the permanent collection of the Prince Takamado Gallery of Japanese Art in the Royal Ontario Museum, Canada.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Focus on Actor Nakamura Shikan II as Satake Shinjuro and explain the Print details.

Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paperSize: ōban tate-e (大判竪絵)Format: ichimai-e (一枚絵) single sheet print from a triptychGenre: yakusha-e (役者絵) actor printJapanese title: 佐竹新十郎中村芝翫Exhibit title: Actor Nakamura Shikan II as Satake ShinjūrōDate: 1827Inscription: noneSignature: Shungyōsai Hokusei ga (春暁斎北晴画)Publisher's mark: Honsei (本清)Publisher: Shōhon-ya Seishichi (正本屋清七)Censor seal: noneDate seal: noneCredit line: none

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Explain the Print details of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.

Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paperSize: ōban tate-e (大判竪絵)Format: ichimai-e (一枚絵) single sheet print from a triptychGenre: yakusha-e (役者絵) actor printJapanese title: 佐竹新十郎中村芝翫Exhibit title: Actor Nakamura Shikan II as Satake ShinjūrōDate: 1827Inscription: noneSignature: Shungyōsai Hokusei ga (春暁斎北晴画)Publisher's mark: Honsei (本清)Publisher: Shōhon-ya Seishichi (正本屋清七)Censor seal: noneDate seal: noneCredit line: none

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: How does Actor Nakamura Shikan II as Satake Shinjuro explain its Print details?

Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paperSize: ōban tate-e (大判竪絵)Format: ichimai-e (一枚絵) single sheet print from a triptychGenre: yakusha-e (役者絵) actor printJapanese title: 佐竹新十郎中村芝翫Exhibit title: Actor Nakamura Shikan II as Satake ShinjūrōDate: 1827Inscription: noneSignature: Shungyōsai Hokusei ga (春暁斎北晴画)Publisher's mark: Honsei (本清)Publisher: Shōhon-ya Seishichi (正本屋清七)Censor seal: noneDate seal: noneCredit line: none

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In Actor Nakamura Shikan II as Satake Shinjuro, how is the Print details discussed?

Medium: kamigata nishiki-e (上方錦絵) woodblock print; ink and colour on paperSize: ōban tate-e (大判竪絵)Format: ichimai-e (一枚絵) single sheet print from a triptychGenre: yakusha-e (役者絵) actor printJapanese title: 佐竹新十郎中村芝翫Exhibit title: Actor Nakamura Shikan II as Satake ShinjūrōDate: 1827Inscription: noneSignature: Shungyōsai Hokusei ga (春暁斎北晴画)Publisher's mark: Honsei (本清)Publisher: Shōhon-ya Seishichi (正本屋清七)Censor seal: noneDate seal: noneCredit line: none

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Focus on Actor Nakamura Shikan II as Satake Shinjuro and explain the Artist.

Very little biographical information is available for Shungyōsai Hokusei. Although one source identifies his life dates as 1818 to 1829, most biographical records simply date his period of activity as being sometime between 1826 and 1828. Known predominantly for his yakusha-e kabuki actor portraits, he is named as a pupil of Shunkōsai Hokushū [春好斎北洲] (fl. 1810–1832) on one of the latter's prints.Although associated with the gō Shungyōsai, Shungyōsai Hokusei is usually referred to as Hokusei. One reason for this is to distinguish him from two other Osaka-based ukiyo-e artists who shared the same gō: Shungyōsai I  (c. 1760–1823; fl. 1790s–1820s) and his son Shungyōsai II (n.d.–1867; fl. 1820s–1860s).Works by Shungyōsai Hokusei belong to the permanent collections of museums such as the Museum of Fine Arts Boston, the Royal Ontario Museum, Central Saint Martins Museum and Study Collection, the Tsubouchi Memorial Theatre Museum of Waseda University.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Explain the Artist of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.

Very little biographical information is available for Shungyōsai Hokusei. Although one source identifies his life dates as 1818 to 1829, most biographical records simply date his period of activity as being sometime between 1826 and 1828. Known predominantly for his yakusha-e kabuki actor portraits, he is named as a pupil of Shunkōsai Hokushū [春好斎北洲] (fl. 1810–1832) on one of the latter's prints.Although associated with the gō Shungyōsai, Shungyōsai Hokusei is usually referred to as Hokusei. One reason for this is to distinguish him from two other Osaka-based ukiyo-e artists who shared the same gō: Shungyōsai I  (c. 1760–1823; fl. 1790s–1820s) and his son Shungyōsai II (n.d.–1867; fl. 1820s–1860s).Works by Shungyōsai Hokusei belong to the permanent collections of museums such as the Museum of Fine Arts Boston, the Royal Ontario Museum, Central Saint Martins Museum and Study Collection, the Tsubouchi Memorial Theatre Museum of Waseda University.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: How does Actor Nakamura Shikan II as Satake Shinjuro explain its Artist?

Very little biographical information is available for Shungyōsai Hokusei. Although one source identifies his life dates as 1818 to 1829, most biographical records simply date his period of activity as being sometime between 1826 and 1828. Known predominantly for his yakusha-e kabuki actor portraits, he is named as a pupil of Shunkōsai Hokushū [春好斎北洲] (fl. 1810–1832) on one of the latter's prints.Although associated with the gō Shungyōsai, Shungyōsai Hokusei is usually referred to as Hokusei. One reason for this is to distinguish him from two other Osaka-based ukiyo-e artists who shared the same gō: Shungyōsai I  (c. 1760–1823; fl. 1790s–1820s) and his son Shungyōsai II (n.d.–1867; fl. 1820s–1860s).Works by Shungyōsai Hokusei belong to the permanent collections of museums such as the Museum of Fine Arts Boston, the Royal Ontario Museum, Central Saint Martins Museum and Study Collection, the Tsubouchi Memorial Theatre Museum of Waseda University.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In Actor Nakamura Shikan II as Satake Shinjuro, how is the Artist discussed?

Very little biographical information is available for Shungyōsai Hokusei. Although one source identifies his life dates as 1818 to 1829, most biographical records simply date his period of activity as being sometime between 1826 and 1828. Known predominantly for his yakusha-e kabuki actor portraits, he is named as a pupil of Shunkōsai Hokushū [春好斎北洲] (fl. 1810–1832) on one of the latter's prints.Although associated with the gō Shungyōsai, Shungyōsai Hokusei is usually referred to as Hokusei. One reason for this is to distinguish him from two other Osaka-based ukiyo-e artists who shared the same gō: Shungyōsai I  (c. 1760–1823; fl. 1790s–1820s) and his son Shungyōsai II (n.d.–1867; fl. 1820s–1860s).Works by Shungyōsai Hokusei belong to the permanent collections of museums such as the Museum of Fine Arts Boston, the Royal Ontario Museum, Central Saint Martins Museum and Study Collection, the Tsubouchi Memorial Theatre Museum of Waseda University.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In the context of Actor Nakamura Shikan II as Satake Shinjuro, explain the Nakamura Shikan II and the Subject.

Nakamura Shikan II (1796–1852) was born Hirano Kichitarō, the son of an Edo tea house owner. In 1807, however, he was adopted by his uncle, a performer of traditional Japanese dance, and at age 15 he became the apprentice of kabuki actor Nakamura Utaemon III. As a kaneru yakusha, Shikan II was highly versatile, capable of performing a wide variety of male and female roles, often assuming multiple roles within the same performance. He was particularly admired for his dancing, his roles in jidaimono history plays, and his "large... stature... fine eyes and good features."He used several stage names throughout his career, including Nakamura Tōtarō (1811–1813), Nakamura Tsurusuke I (1813–1825), Nakamura Utaemon IV (1836–1852), as well as Nakamura Shikan II which he took in 1825. He was also associated with the haimei (俳名) poetry names Kanjaku and Shijaku, and the guild name Narikomaya.Shikan II's career was divided between Osaka and Edo, and despite his popularity on the Kamigata stage, he apparently wished to be more associated with the Edo theatre. He appears in prints by various artists, including Utagawa Kunisada, Utagawa Kunihiro, Utagawa Toyokuni and Shunbaisai Hokuei.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Explain the Nakamura Shikan II about the Subject of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.

Nakamura Shikan II (1796–1852) was born Hirano Kichitarō, the son of an Edo tea house owner. In 1807, however, he was adopted by his uncle, a performer of traditional Japanese dance, and at age 15 he became the apprentice of kabuki actor Nakamura Utaemon III. As a kaneru yakusha, Shikan II was highly versatile, capable of performing a wide variety of male and female roles, often assuming multiple roles within the same performance. He was particularly admired for his dancing, his roles in jidaimono history plays, and his "large... stature... fine eyes and good features."He used several stage names throughout his career, including Nakamura Tōtarō (1811–1813), Nakamura Tsurusuke I (1813–1825), Nakamura Utaemon IV (1836–1852), as well as Nakamura Shikan II which he took in 1825. He was also associated with the haimei (俳名) poetry names Kanjaku and Shijaku, and the guild name Narikomaya.Shikan II's career was divided between Osaka and Edo, and despite his popularity on the Kamigata stage, he apparently wished to be more associated with the Edo theatre. He appears in prints by various artists, including Utagawa Kunisada, Utagawa Kunihiro, Utagawa Toyokuni and Shunbaisai Hokuei.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In Actor Nakamura Shikan II as Satake Shinjuro, how is the Nakamura Shikan II of the Subject explained?

Nakamura Shikan II (1796–1852) was born Hirano Kichitarō, the son of an Edo tea house owner. In 1807, however, he was adopted by his uncle, a performer of traditional Japanese dance, and at age 15 he became the apprentice of kabuki actor Nakamura Utaemon III. As a kaneru yakusha, Shikan II was highly versatile, capable of performing a wide variety of male and female roles, often assuming multiple roles within the same performance. He was particularly admired for his dancing, his roles in jidaimono history plays, and his "large... stature... fine eyes and good features."He used several stage names throughout his career, including Nakamura Tōtarō (1811–1813), Nakamura Tsurusuke I (1813–1825), Nakamura Utaemon IV (1836–1852), as well as Nakamura Shikan II which he took in 1825. He was also associated with the haimei (俳名) poetry names Kanjaku and Shijaku, and the guild name Narikomaya.Shikan II's career was divided between Osaka and Edo, and despite his popularity on the Kamigata stage, he apparently wished to be more associated with the Edo theatre. He appears in prints by various artists, including Utagawa Kunisada, Utagawa Kunihiro, Utagawa Toyokuni and Shunbaisai Hokuei.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Describe the characteristics of the Nakamura Shikan II in Actor Nakamura Shikan II as Satake Shinjuro's Subject.

Nakamura Shikan II (1796–1852) was born Hirano Kichitarō, the son of an Edo tea house owner. In 1807, however, he was adopted by his uncle, a performer of traditional Japanese dance, and at age 15 he became the apprentice of kabuki actor Nakamura Utaemon III. As a kaneru yakusha, Shikan II was highly versatile, capable of performing a wide variety of male and female roles, often assuming multiple roles within the same performance. He was particularly admired for his dancing, his roles in jidaimono history plays, and his "large... stature... fine eyes and good features."He used several stage names throughout his career, including Nakamura Tōtarō (1811–1813), Nakamura Tsurusuke I (1813–1825), Nakamura Utaemon IV (1836–1852), as well as Nakamura Shikan II which he took in 1825. He was also associated with the haimei (俳名) poetry names Kanjaku and Shijaku, and the guild name Narikomaya.Shikan II's career was divided between Osaka and Edo, and despite his popularity on the Kamigata stage, he apparently wished to be more associated with the Edo theatre. He appears in prints by various artists, including Utagawa Kunisada, Utagawa Kunihiro, Utagawa Toyokuni and Shunbaisai Hokuei.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In the context of Actor Nakamura Shikan II as Satake Shinjuro, explain the Keisei Asoyama Sakura and the Subject.

The print depicts a scene from the kabuki play Keisei Asoyama Sakura (けいせい遊山桜), The Courtesan and the Cherry Blossoms at Mt. Aso. Unusually, the play was performed in the first lunar month of Bunsei 10 (文政十年), or 1827, at both Osaka's Naka (中) and Kado (角) Theatres simultaneously. Shikan II appeared in the version staged at the Kado in the role of Satake Shinjūrō (佐竹新十郎), alongside Edo actor Seki Sanjūrō II (関三十郎二代目) as Ishizuka Jinzaburō (石家仁三郎), onnagata Nakamura Matsue III (中村松枝三代目) as a keisei (傾城/契情) courtesan, and star Nakamura Utaemon III (中村歌右衛門) as Ōuchi Saemon Hidemaru (大内左衛門秀丸). Utaemon III is also credited with having written the Kado Theatre version of what is essentially a politico-historical thriller. The climax of the performance appears to have been a shosagoto dance featuring the three main stars.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Explain the Keisei Asoyama Sakura about the Subject of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.

The print depicts a scene from the kabuki play Keisei Asoyama Sakura (けいせい遊山桜), The Courtesan and the Cherry Blossoms at Mt. Aso. Unusually, the play was performed in the first lunar month of Bunsei 10 (文政十年), or 1827, at both Osaka's Naka (中) and Kado (角) Theatres simultaneously. Shikan II appeared in the version staged at the Kado in the role of Satake Shinjūrō (佐竹新十郎), alongside Edo actor Seki Sanjūrō II (関三十郎二代目) as Ishizuka Jinzaburō (石家仁三郎), onnagata Nakamura Matsue III (中村松枝三代目) as a keisei (傾城/契情) courtesan, and star Nakamura Utaemon III (中村歌右衛門) as Ōuchi Saemon Hidemaru (大内左衛門秀丸). Utaemon III is also credited with having written the Kado Theatre version of what is essentially a politico-historical thriller. The climax of the performance appears to have been a shosagoto dance featuring the three main stars.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In Actor Nakamura Shikan II as Satake Shinjuro, how is the Keisei Asoyama Sakura of the Subject explained?

The print depicts a scene from the kabuki play Keisei Asoyama Sakura (けいせい遊山桜), The Courtesan and the Cherry Blossoms at Mt. Aso. Unusually, the play was performed in the first lunar month of Bunsei 10 (文政十年), or 1827, at both Osaka's Naka (中) and Kado (角) Theatres simultaneously. Shikan II appeared in the version staged at the Kado in the role of Satake Shinjūrō (佐竹新十郎), alongside Edo actor Seki Sanjūrō II (関三十郎二代目) as Ishizuka Jinzaburō (石家仁三郎), onnagata Nakamura Matsue III (中村松枝三代目) as a keisei (傾城/契情) courtesan, and star Nakamura Utaemon III (中村歌右衛門) as Ōuchi Saemon Hidemaru (大内左衛門秀丸). Utaemon III is also credited with having written the Kado Theatre version of what is essentially a politico-historical thriller. The climax of the performance appears to have been a shosagoto dance featuring the three main stars.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Describe the characteristics of the Keisei Asoyama Sakura in Actor Nakamura Shikan II as Satake Shinjuro's Subject.

The print depicts a scene from the kabuki play Keisei Asoyama Sakura (けいせい遊山桜), The Courtesan and the Cherry Blossoms at Mt. Aso. Unusually, the play was performed in the first lunar month of Bunsei 10 (文政十年), or 1827, at both Osaka's Naka (中) and Kado (角) Theatres simultaneously. Shikan II appeared in the version staged at the Kado in the role of Satake Shinjūrō (佐竹新十郎), alongside Edo actor Seki Sanjūrō II (関三十郎二代目) as Ishizuka Jinzaburō (石家仁三郎), onnagata Nakamura Matsue III (中村松枝三代目) as a keisei (傾城/契情) courtesan, and star Nakamura Utaemon III (中村歌右衛門) as Ōuchi Saemon Hidemaru (大内左衛門秀丸). Utaemon III is also credited with having written the Kado Theatre version of what is essentially a politico-historical thriller. The climax of the performance appears to have been a shosagoto dance featuring the three main stars.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Focus on Actor Nakamura Shikan II as Satake Shinjuro and explain the Description.

The print depicts the character Satake Shinjūrō in a dramatic standing pose. His appearance is that of a samurai, his hair styled in a chonmage (丁髷) topknot, his feet bare. Her wears a short, bright red kimono decorated with thin white vertical stripes. Over this, he wears a simple grey haori (羽織) jacket whose only decoration is a flower motif kamon (家紋) family crest, which may be a plum blossom variant. His arms have been removed from the sleeves of his haori which hang down at his sides, and he has a sageo string holding back the long sleeves of his kimono. Both of these are intended to increase his mobility, particularly in combat.The figure stands outdoors at the base of a set of stone steps with no visible detail aside from some undergrowth and rocks. He looks off to his right, which is to say away from the other two characters in the triptych. His face has a serious expression, and he holds a long unsheathed sword in front of him with both hands. The empty black saya (鞘) sheath is tucked into his blue patterned obi sash, and peeks out from behind his back along with a second matching sheathed sword. Both tsuka sword handles would peek out from his left side, the standard position for samurai as it made them more accessible for the right-handed.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Explain the Description of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.

The print depicts the character Satake Shinjūrō in a dramatic standing pose. His appearance is that of a samurai, his hair styled in a chonmage (丁髷) topknot, his feet bare. Her wears a short, bright red kimono decorated with thin white vertical stripes. Over this, he wears a simple grey haori (羽織) jacket whose only decoration is a flower motif kamon (家紋) family crest, which may be a plum blossom variant. His arms have been removed from the sleeves of his haori which hang down at his sides, and he has a sageo string holding back the long sleeves of his kimono. Both of these are intended to increase his mobility, particularly in combat.The figure stands outdoors at the base of a set of stone steps with no visible detail aside from some undergrowth and rocks. He looks off to his right, which is to say away from the other two characters in the triptych. His face has a serious expression, and he holds a long unsheathed sword in front of him with both hands. The empty black saya (鞘) sheath is tucked into his blue patterned obi sash, and peeks out from behind his back along with a second matching sheathed sword. Both tsuka sword handles would peek out from his left side, the standard position for samurai as it made them more accessible for the right-handed.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: How does Actor Nakamura Shikan II as Satake Shinjuro explain its Description?

The print depicts the character Satake Shinjūrō in a dramatic standing pose. His appearance is that of a samurai, his hair styled in a chonmage (丁髷) topknot, his feet bare. Her wears a short, bright red kimono decorated with thin white vertical stripes. Over this, he wears a simple grey haori (羽織) jacket whose only decoration is a flower motif kamon (家紋) family crest, which may be a plum blossom variant. His arms have been removed from the sleeves of his haori which hang down at his sides, and he has a sageo string holding back the long sleeves of his kimono. Both of these are intended to increase his mobility, particularly in combat.The figure stands outdoors at the base of a set of stone steps with no visible detail aside from some undergrowth and rocks. He looks off to his right, which is to say away from the other two characters in the triptych. His face has a serious expression, and he holds a long unsheathed sword in front of him with both hands. The empty black saya (鞘) sheath is tucked into his blue patterned obi sash, and peeks out from behind his back along with a second matching sheathed sword. Both tsuka sword handles would peek out from his left side, the standard position for samurai as it made them more accessible for the right-handed.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In Actor Nakamura Shikan II as Satake Shinjuro, how is the Description discussed?

The print depicts the character Satake Shinjūrō in a dramatic standing pose. His appearance is that of a samurai, his hair styled in a chonmage (丁髷) topknot, his feet bare. Her wears a short, bright red kimono decorated with thin white vertical stripes. Over this, he wears a simple grey haori (羽織) jacket whose only decoration is a flower motif kamon (家紋) family crest, which may be a plum blossom variant. His arms have been removed from the sleeves of his haori which hang down at his sides, and he has a sageo string holding back the long sleeves of his kimono. Both of these are intended to increase his mobility, particularly in combat.The figure stands outdoors at the base of a set of stone steps with no visible detail aside from some undergrowth and rocks. He looks off to his right, which is to say away from the other two characters in the triptych. His face has a serious expression, and he holds a long unsheathed sword in front of him with both hands. The empty black saya (鞘) sheath is tucked into his blue patterned obi sash, and peeks out from behind his back along with a second matching sheathed sword. Both tsuka sword handles would peek out from his left side, the standard position for samurai as it made them more accessible for the right-handed.

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Focus on Actor Nakamura Shikan II as Satake Shinjuro and explain the Medium and genre.

As an Osaka-based artist, Shungyōsai Hokusei's works are categorized as kamigata-e (上方絵), a term used to distinguish prints produced in the Kamigata area (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were predominantly kabuki-e (歌舞伎絵) (images of kabuki actors), and were almost entirely the work of amateur "talented kabuki fans" celebrating their favourite actors.Literally "kabuki pictures", kabuki-e began to be produced in Edo in the late seventeenth century. As kabuki grew in popularity, star actors emerged, which in turn led to yakusha-e (役者絵), a subgenre of kabuki-e in which actors were depicted individually, as in this print, or in pairs. These images appeared as single-sheet prints or in books of actor prints called yakusha ehon (役者絵本).

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Explain the Medium and genre of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.

As an Osaka-based artist, Shungyōsai Hokusei's works are categorized as kamigata-e (上方絵), a term used to distinguish prints produced in the Kamigata area (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were predominantly kabuki-e (歌舞伎絵) (images of kabuki actors), and were almost entirely the work of amateur "talented kabuki fans" celebrating their favourite actors.Literally "kabuki pictures", kabuki-e began to be produced in Edo in the late seventeenth century. As kabuki grew in popularity, star actors emerged, which in turn led to yakusha-e (役者絵), a subgenre of kabuki-e in which actors were depicted individually, as in this print, or in pairs. These images appeared as single-sheet prints or in books of actor prints called yakusha ehon (役者絵本).

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: How does Actor Nakamura Shikan II as Satake Shinjuro explain its Medium and genre?

As an Osaka-based artist, Shungyōsai Hokusei's works are categorized as kamigata-e (上方絵), a term used to distinguish prints produced in the Kamigata area (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were predominantly kabuki-e (歌舞伎絵) (images of kabuki actors), and were almost entirely the work of amateur "talented kabuki fans" celebrating their favourite actors.Literally "kabuki pictures", kabuki-e began to be produced in Edo in the late seventeenth century. As kabuki grew in popularity, star actors emerged, which in turn led to yakusha-e (役者絵), a subgenre of kabuki-e in which actors were depicted individually, as in this print, or in pairs. These images appeared as single-sheet prints or in books of actor prints called yakusha ehon (役者絵本).

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In Actor Nakamura Shikan II as Satake Shinjuro, how is the Medium and genre discussed?

As an Osaka-based artist, Shungyōsai Hokusei's works are categorized as kamigata-e (上方絵), a term used to distinguish prints produced in the Kamigata area (Kyoto and Osaka) from those produced in Edo. Gaining prominence about a century after the appearance of ukiyo-e in Edo, kamigata-e were predominantly kabuki-e (歌舞伎絵) (images of kabuki actors), and were almost entirely the work of amateur "talented kabuki fans" celebrating their favourite actors.Literally "kabuki pictures", kabuki-e began to be produced in Edo in the late seventeenth century. As kabuki grew in popularity, star actors emerged, which in turn led to yakusha-e (役者絵), a subgenre of kabuki-e in which actors were depicted individually, as in this print, or in pairs. These images appeared as single-sheet prints or in books of actor prints called yakusha ehon (役者絵本).

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Focus on Actor Nakamura Shikan II as Satake Shinjuro and explain the Publisher.

The print bears the Honsei [本清] publisher's mark associated with the Shōhonya Seishichi [正本屋清七] publishing house. Honsei was a highly active Osaka publisher run by the Tamaoki Seishichi family. Dates for the company vary depending on the account, but fall generally span the nineteenth century, Honsei produced works by all of the prominent kamigata-e artists of the late nineteenth through the early twentieth centuries. In addition to Hokusei, they collaborated with such artists as:

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Explain the Publisher of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.

The print bears the Honsei [本清] publisher's mark associated with the Shōhonya Seishichi [正本屋清七] publishing house. Honsei was a highly active Osaka publisher run by the Tamaoki Seishichi family. Dates for the company vary depending on the account, but fall generally span the nineteenth century, Honsei produced works by all of the prominent kamigata-e artists of the late nineteenth through the early twentieth centuries. In addition to Hokusei, they collaborated with such artists as:

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: How does Actor Nakamura Shikan II as Satake Shinjuro explain its Publisher?

The print bears the Honsei [本清] publisher's mark associated with the Shōhonya Seishichi [正本屋清七] publishing house. Honsei was a highly active Osaka publisher run by the Tamaoki Seishichi family. Dates for the company vary depending on the account, but fall generally span the nineteenth century, Honsei produced works by all of the prominent kamigata-e artists of the late nineteenth through the early twentieth centuries. In addition to Hokusei, they collaborated with such artists as:

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In Actor Nakamura Shikan II as Satake Shinjuro, how is the Publisher discussed?

The print bears the Honsei [本清] publisher's mark associated with the Shōhonya Seishichi [正本屋清七] publishing house. Honsei was a highly active Osaka publisher run by the Tamaoki Seishichi family. Dates for the company vary depending on the account, but fall generally span the nineteenth century, Honsei produced works by all of the prominent kamigata-e artists of the late nineteenth through the early twentieth centuries. In addition to Hokusei, they collaborated with such artists as:

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Focus on Actor Nakamura Shikan II as Satake Shinjuro and explain the Related works.

This print is Hokusei's contribution to a triptych produced by three different artists and published by Honsei soon after the 1827 performance. Although all three are the work of different artists they are stylistically cohesive and incorporate the same seamlessly matched background scene.The placement of the actor/ character name cartouche near the left upper edge, indicates that this image is the left-most and third in the series. The two other images are Nakamura Utaemon III as Ōuchi Saemon Hidemaru by Shunshosai Hokuchō (centre), and Seki Sanjūrō II as Ishizuka Jinzaburō by Shunyōsai Shunshi (right).

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: Explain the Related works of this artwork, Actor Nakamura Shikan II as Satake Shinjuro.

This print is Hokusei's contribution to a triptych produced by three different artists and published by Honsei soon after the 1827 performance. Although all three are the work of different artists they are stylistically cohesive and incorporate the same seamlessly matched background scene.The placement of the actor/ character name cartouche near the left upper edge, indicates that this image is the left-most and third in the series. The two other images are Nakamura Utaemon III as Ōuchi Saemon Hidemaru by Shunshosai Hokuchō (centre), and Seki Sanjūrō II as Ishizuka Jinzaburō by Shunyōsai Shunshi (right).

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: How does Actor Nakamura Shikan II as Satake Shinjuro explain its Related works?

This print is Hokusei's contribution to a triptych produced by three different artists and published by Honsei soon after the 1827 performance. Although all three are the work of different artists they are stylistically cohesive and incorporate the same seamlessly matched background scene.The placement of the actor/ character name cartouche near the left upper edge, indicates that this image is the left-most and third in the series. The two other images are Nakamura Utaemon III as Ōuchi Saemon Hidemaru by Shunshosai Hokuchō (centre), and Seki Sanjūrō II as Ishizuka Jinzaburō by Shunyōsai Shunshi (right).

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Prompt: In Actor Nakamura Shikan II as Satake Shinjuro, how is the Related works discussed?

This print is Hokusei's contribution to a triptych produced by three different artists and published by Honsei soon after the 1827 performance. Although all three are the work of different artists they are stylistically cohesive and incorporate the same seamlessly matched background scene.The placement of the actor/ character name cartouche near the left upper edge, indicates that this image is the left-most and third in the series. The two other images are Nakamura Utaemon III as Ōuchi Saemon Hidemaru by Shunshosai Hokuchō (centre), and Seki Sanjūrō II as Ishizuka Jinzaburō by Shunyōsai Shunshi (right).

Category:Collection of the Royal Ontario Museum

Actor Arashi Rikan II as Osome (Ryūsai Shigeharu)

Waseda University Tsubouchi Memorial Theatre Museum

View of Tempōzan Park in Naniwa (Gochōtei Sadamasu)

Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Name cartouche detail.jpeg

Two Actors in Samurai Roles (Gosotei Hirosada)

File:Actor Nakamura Shikan II as Satake Shinjuro (Shungyosai Hokusei) - Signature and seal detail.JPG


Fall of the Damned into Hell

Prompt: Focus on Fall of the Damned into Hell and explain the abstract.

Fall of the Damned into Hell is a painting by the Early Netherlandish artist Hieronymus Bosch made sometime before 1490. It is currently in the Gallerie dell'Accademia in Venice, Italy.This painting is part of a four-panel polyptych; the others are Ascent of the Blessed, Terrestrial Paradise and Hell.

Category:Paintings in the Gallerie dell'Accademia


Fall of the Damned into Hell

Prompt: Explain the abstract of this artwork, Fall of the Damned into Hell.

Fall of the Damned into Hell is a painting by the Early Netherlandish artist Hieronymus Bosch made sometime before 1490. It is currently in the Gallerie dell'Accademia in Venice, Italy.This painting is part of a four-panel polyptych; the others are Ascent of the Blessed, Terrestrial Paradise and Hell.

Category:Paintings in the Gallerie dell'Accademia


Fall of the Damned into Hell

Prompt: How does Fall of the Damned into Hell explain its abstract?

Fall of the Damned into Hell is a painting by the Early Netherlandish artist Hieronymus Bosch made sometime before 1490. It is currently in the Gallerie dell'Accademia in Venice, Italy.This painting is part of a four-panel polyptych; the others are Ascent of the Blessed, Terrestrial Paradise and Hell.

Category:Paintings in the Gallerie dell'Accademia


Fall of the Damned into Hell

Prompt: In Fall of the Damned into Hell, how is the abstract discussed?

Fall of the Damned into Hell is a painting by the Early Netherlandish artist Hieronymus Bosch made sometime before 1490. It is currently in the Gallerie dell'Accademia in Venice, Italy.This painting is part of a four-panel polyptych; the others are Ascent of the Blessed, Terrestrial Paradise and Hell.

Category:Paintings in the Gallerie dell'Accademia


Fountain of the Lions (Porto)

Prompt: Focus on Fountain of the Lions (Porto) and explain the abstract.

The Fountain of the Lions (Portuguese: Fonte dos Leões), is a 19th-century fountain built by French company Compagnie Générale des Eaux pour l'Etranger, in the civil parish of Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória in municipality of Porto.Cast by the Val d’Osne foundry in France, it is a copy, in most part, of the fountain in the Town Hall Square of Leicester, England

Category:Properties of Public Interest in Portugal

Detail of one of the sculptures of the winged lions


Fountain of the Lions (Porto)

Prompt: Explain the abstract of this artwork, Fountain of the Lions (Porto).

The Fountain of the Lions (Portuguese: Fonte dos Leões), is a 19th-century fountain built by French company Compagnie Générale des Eaux pour l'Etranger, in the civil parish of Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória in municipality of Porto.Cast by the Val d’Osne foundry in France, it is a copy, in most part, of the fountain in the Town Hall Square of Leicester, England

Category:Properties of Public Interest in Portugal

Detail of one of the sculptures of the winged lions


Fountain of the Lions (Porto)

Prompt: How does Fountain of the Lions (Porto) explain its abstract?

The Fountain of the Lions (Portuguese: Fonte dos Leões), is a 19th-century fountain built by French company Compagnie Générale des Eaux pour l'Etranger, in the civil parish of Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória in municipality of Porto.Cast by the Val d’Osne foundry in France, it is a copy, in most part, of the fountain in the Town Hall Square of Leicester, England

Category:Properties of Public Interest in Portugal

Detail of one of the sculptures of the winged lions


Fountain of the Lions (Porto)

Prompt: In Fountain of the Lions (Porto), how is the abstract discussed?

The Fountain of the Lions (Portuguese: Fonte dos Leões), is a 19th-century fountain built by French company Compagnie Générale des Eaux pour l'Etranger, in the civil parish of Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória in municipality of Porto.Cast by the Val d’Osne foundry in France, it is a copy, in most part, of the fountain in the Town Hall Square of Leicester, England

Category:Properties of Public Interest in Portugal

Detail of one of the sculptures of the winged lions


Fountain of the Lions (Porto)

Prompt: Focus on Fountain of the Lions (Porto) and explain the History.

A competition was held in 1880, by the municipal water authority of Porto, under the direction of António Pinto de Magalhães (then president of Câmara Municipal of Porto). This resulted in an 1882 contract with the only submeter, the Compagnie Générale des Eaux pour l'Etranger. A decree was issued on 17 July 1882, which elaborated the and approved the provisional contract, which was promulgated on 27 July.Work was initiated in 1883, to begin the supply of water to the city. This new project included a supply that included the design for the Lion fountain. On 30 August 1883, the design was rejected by the municipal commission, but on 13 August 1885, the municipal representatives approved the project sent by Carlos de Pezerat (4 July). Construction began on 25 September, and water began to flow as on 19 December 1886.By 1 January 1887, the public water supply project for the city of Porto was concluded.From 1942, the fountain was a less obligatory passage channels of the city, and began to be supplied by the Arca de Sá Noronha.

Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória

Category:Properties of Public Interest in Portugal

Detail of one of the sculptures of the winged lions


Fountain of the Lions (Porto)

Prompt: Explain the History of this artwork, Fountain of the Lions (Porto).

A competition was held in 1880, by the municipal water authority of Porto, under the direction of António Pinto de Magalhães (then president of Câmara Municipal of Porto). This resulted in an 1882 contract with the only submeter, the Compagnie Générale des Eaux pour l'Etranger. A decree was issued on 17 July 1882, which elaborated the and approved the provisional contract, which was promulgated on 27 July.Work was initiated in 1883, to begin the supply of water to the city. This new project included a supply that included the design for the Lion fountain. On 30 August 1883, the design was rejected by the municipal commission, but on 13 August 1885, the municipal representatives approved the project sent by Carlos de Pezerat (4 July). Construction began on 25 September, and water began to flow as on 19 December 1886.By 1 January 1887, the public water supply project for the city of Porto was concluded.From 1942, the fountain was a less obligatory passage channels of the city, and began to be supplied by the Arca de Sá Noronha.

Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória

Category:Properties of Public Interest in Portugal

Detail of one of the sculptures of the winged lions


Fountain of the Lions (Porto)

Prompt: How does Fountain of the Lions (Porto) explain its History?

A competition was held in 1880, by the municipal water authority of Porto, under the direction of António Pinto de Magalhães (then president of Câmara Municipal of Porto). This resulted in an 1882 contract with the only submeter, the Compagnie Générale des Eaux pour l'Etranger. A decree was issued on 17 July 1882, which elaborated the and approved the provisional contract, which was promulgated on 27 July.Work was initiated in 1883, to begin the supply of water to the city. This new project included a supply that included the design for the Lion fountain. On 30 August 1883, the design was rejected by the municipal commission, but on 13 August 1885, the municipal representatives approved the project sent by Carlos de Pezerat (4 July). Construction began on 25 September, and water began to flow as on 19 December 1886.By 1 January 1887, the public water supply project for the city of Porto was concluded.From 1942, the fountain was a less obligatory passage channels of the city, and began to be supplied by the Arca de Sá Noronha.

Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória

Category:Properties of Public Interest in Portugal

Detail of one of the sculptures of the winged lions