1476 Altarpiece

Prompt: In 1476 Altarpiece, how is the abstract discussed?

The 1476 Altarpiece or San Domenico Altarpiece is a 1476 tempera and gold on panel altarpiece by the Italian Renaissance painter Carlo Crivelli. Its central panel of the Pietà is now in the Metropolitan Museum of Art in New York, whilst the other nine are now in the National Gallery, London.

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: Focus on 1476 Altarpiece and explain the History.

The altarpiece was likely originally constructed for the Dominican church of Ascoli Piceno, given the inclusion of Dominican saints on the lower levels of the altarpiece. The church held another 1476 Crivelli work, the Saint Peter Martyr Altarpiece. Both works were dismantled from their altars c. 1776 due to renovations in the church. They were then sold to an antiquarian, Grossi, who further separated the panels and regrouped them. (The predellas that went with the altarpieces are lost.)The altarpiece was seen by Luigi Lanzi and purchased by Francesco Saverio de Zelada in Rome in 1789, and it arrived in Florence with the Rinuccini family. The 1476 Altarpiece arrived at London's National Gallery in 1868, having come from the Demidov collection. Art historians Federico Zeri and Rodolfo Pallucchini reintegrated the formerly separated altarpieces, referring first to the Pietà in the Metropolitan Museum and second to the Madonna in the Museum of Fine Arts of Budapest. In 1961, the National Gallery again disjoined its panels and reconstructed them into two separate polyptychs.

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: Explain the History of this artwork, 1476 Altarpiece.

The altarpiece was likely originally constructed for the Dominican church of Ascoli Piceno, given the inclusion of Dominican saints on the lower levels of the altarpiece. The church held another 1476 Crivelli work, the Saint Peter Martyr Altarpiece. Both works were dismantled from their altars c. 1776 due to renovations in the church. They were then sold to an antiquarian, Grossi, who further separated the panels and regrouped them. (The predellas that went with the altarpieces are lost.)The altarpiece was seen by Luigi Lanzi and purchased by Francesco Saverio de Zelada in Rome in 1789, and it arrived in Florence with the Rinuccini family. The 1476 Altarpiece arrived at London's National Gallery in 1868, having come from the Demidov collection. Art historians Federico Zeri and Rodolfo Pallucchini reintegrated the formerly separated altarpieces, referring first to the Pietà in the Metropolitan Museum and second to the Madonna in the Museum of Fine Arts of Budapest. In 1961, the National Gallery again disjoined its panels and reconstructed them into two separate polyptychs.

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: How does 1476 Altarpiece explain its History?

The altarpiece was likely originally constructed for the Dominican church of Ascoli Piceno, given the inclusion of Dominican saints on the lower levels of the altarpiece. The church held another 1476 Crivelli work, the Saint Peter Martyr Altarpiece. Both works were dismantled from their altars c. 1776 due to renovations in the church. They were then sold to an antiquarian, Grossi, who further separated the panels and regrouped them. (The predellas that went with the altarpieces are lost.)The altarpiece was seen by Luigi Lanzi and purchased by Francesco Saverio de Zelada in Rome in 1789, and it arrived in Florence with the Rinuccini family. The 1476 Altarpiece arrived at London's National Gallery in 1868, having come from the Demidov collection. Art historians Federico Zeri and Rodolfo Pallucchini reintegrated the formerly separated altarpieces, referring first to the Pietà in the Metropolitan Museum and second to the Madonna in the Museum of Fine Arts of Budapest. In 1961, the National Gallery again disjoined its panels and reconstructed them into two separate polyptychs.

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: In 1476 Altarpiece, how is the History discussed?

The altarpiece was likely originally constructed for the Dominican church of Ascoli Piceno, given the inclusion of Dominican saints on the lower levels of the altarpiece. The church held another 1476 Crivelli work, the Saint Peter Martyr Altarpiece. Both works were dismantled from their altars c. 1776 due to renovations in the church. They were then sold to an antiquarian, Grossi, who further separated the panels and regrouped them. (The predellas that went with the altarpieces are lost.)The altarpiece was seen by Luigi Lanzi and purchased by Francesco Saverio de Zelada in Rome in 1789, and it arrived in Florence with the Rinuccini family. The 1476 Altarpiece arrived at London's National Gallery in 1868, having come from the Demidov collection. Art historians Federico Zeri and Rodolfo Pallucchini reintegrated the formerly separated altarpieces, referring first to the Pietà in the Metropolitan Museum and second to the Madonna in the Museum of Fine Arts of Budapest. In 1961, the National Gallery again disjoined its panels and reconstructed them into two separate polyptychs.

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: Focus on 1476 Altarpiece and explain the Description and style.

The altarpiece has a traditional setting, with a Madonna Enthroned with Child at the center, the saints depicted to the sides, and on the upper level a Pietà and half-figure saints.The structure of the altarpiece perplexed critics for a long time. Art historians eventually adopted the theory that the altarpiece was actually an assemblage of panels from different sources.

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: Explain the Description and style of this artwork, 1476 Altarpiece.

The altarpiece has a traditional setting, with a Madonna Enthroned with Child at the center, the saints depicted to the sides, and on the upper level a Pietà and half-figure saints.The structure of the altarpiece perplexed critics for a long time. Art historians eventually adopted the theory that the altarpiece was actually an assemblage of panels from different sources.

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: How does 1476 Altarpiece explain its Description and style?

The altarpiece has a traditional setting, with a Madonna Enthroned with Child at the center, the saints depicted to the sides, and on the upper level a Pietà and half-figure saints.The structure of the altarpiece perplexed critics for a long time. Art historians eventually adopted the theory that the altarpiece was actually an assemblage of panels from different sources.

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: In 1476 Altarpiece, how is the Description and style discussed?

The altarpiece has a traditional setting, with a Madonna Enthroned with Child at the center, the saints depicted to the sides, and on the upper level a Pietà and half-figure saints.The structure of the altarpiece perplexed critics for a long time. Art historians eventually adopted the theory that the altarpiece was actually an assemblage of panels from different sources.

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: In the context of 1476 Altarpiece, explain the Panels and the Description and style.

Lower register:Madonna and Child, 148x63 cm, signed OPVS KAROLI CRIVELLI VENETI 1476Saint John the Baptist, 138x40 cmSaint Peter, 138x40 cmSaint Catherine of Alexandria, 138x40 cmSaint Dominic, 138x40 cmUpper register:Saint Francis, 61x40 cmSaint Andrew, 61x40 cmPietà, 69x63,5 cmSaint Stephen, 61x40 cmSaint Thomas, 61x40 cm

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: Explain the Panels about the Description and style of this artwork, 1476 Altarpiece.

Lower register:Madonna and Child, 148x63 cm, signed OPVS KAROLI CRIVELLI VENETI 1476Saint John the Baptist, 138x40 cmSaint Peter, 138x40 cmSaint Catherine of Alexandria, 138x40 cmSaint Dominic, 138x40 cmUpper register:Saint Francis, 61x40 cmSaint Andrew, 61x40 cmPietà, 69x63,5 cmSaint Stephen, 61x40 cmSaint Thomas, 61x40 cm

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: In 1476 Altarpiece, how is the Panels of the Description and style explained?

Lower register:Madonna and Child, 148x63 cm, signed OPVS KAROLI CRIVELLI VENETI 1476Saint John the Baptist, 138x40 cmSaint Peter, 138x40 cmSaint Catherine of Alexandria, 138x40 cmSaint Dominic, 138x40 cmUpper register:Saint Francis, 61x40 cmSaint Andrew, 61x40 cmPietà, 69x63,5 cmSaint Stephen, 61x40 cmSaint Thomas, 61x40 cm

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


1476 Altarpiece

Prompt: Describe the characteristics of the Panels in 1476 Altarpiece's Description and style.

Lower register:Madonna and Child, 148x63 cm, signed OPVS KAROLI CRIVELLI VENETI 1476Saint John the Baptist, 138x40 cmSaint Peter, 138x40 cmSaint Catherine of Alexandria, 138x40 cmSaint Dominic, 138x40 cmUpper register:Saint Francis, 61x40 cmSaint Andrew, 61x40 cmPietà, 69x63,5 cmSaint Stephen, 61x40 cmSaint Thomas, 61x40 cm

Category:Paintings of Thomas the Apostle

Category:Cultural depictions of John the Baptist

File:Polittico del 1476, s. g. battista.jpg

Category:Paintings in the National Gallery, London

Category:Paintings in the Metropolitan Museum of Art

File:Polittico del 1476, s. domenico.jpg

Category:Paintings of Catherine of Alexandria

Category:Paintings of Andrew the Apostle

File:Polittico del 1476, s. tommaso d'aquino.jpg

File:Polittico del 1476, s. francesco.jpg

File:Polittico del 1476, s. caterina.jpg


Portrait of George Dyer Talking

Prompt: Focus on Portrait of George Dyer Talking and explain the abstract.

Portrait of George Dyer Talking is an oil painting on canvas executed in 1966 by the British painter Francis Bacon. It is a portrait of his lover George Dyer made at the height of Bacon's creative power. It depicts Dyer sitting on a revolving office stool in a luridly coloured room. His body and face are contorted, and his legs are tightly crossed. His head appears to be framed within a window or door. Above him is a naked hanging lightbulb, a favourite motif of Bacon's. The work contains a number of spatial ambiguities, not least that Dyer's body seems to be positioned both in the fore- and background.The painting was sold at Christie's, London, on 13 February 2014, realizing £42,194,500. The seller was reported by Bloomberg to be Mexican financier David Martínez Guzmán, said to have purchased the painting in a private sale for $12,000,000 some five years before.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: Explain the abstract of this artwork, Portrait of George Dyer Talking.

Portrait of George Dyer Talking is an oil painting on canvas executed in 1966 by the British painter Francis Bacon. It is a portrait of his lover George Dyer made at the height of Bacon's creative power. It depicts Dyer sitting on a revolving office stool in a luridly coloured room. His body and face are contorted, and his legs are tightly crossed. His head appears to be framed within a window or door. Above him is a naked hanging lightbulb, a favourite motif of Bacon's. The work contains a number of spatial ambiguities, not least that Dyer's body seems to be positioned both in the fore- and background.The painting was sold at Christie's, London, on 13 February 2014, realizing £42,194,500. The seller was reported by Bloomberg to be Mexican financier David Martínez Guzmán, said to have purchased the painting in a private sale for $12,000,000 some five years before.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: How does Portrait of George Dyer Talking explain its abstract?

Portrait of George Dyer Talking is an oil painting on canvas executed in 1966 by the British painter Francis Bacon. It is a portrait of his lover George Dyer made at the height of Bacon's creative power. It depicts Dyer sitting on a revolving office stool in a luridly coloured room. His body and face are contorted, and his legs are tightly crossed. His head appears to be framed within a window or door. Above him is a naked hanging lightbulb, a favourite motif of Bacon's. The work contains a number of spatial ambiguities, not least that Dyer's body seems to be positioned both in the fore- and background.The painting was sold at Christie's, London, on 13 February 2014, realizing £42,194,500. The seller was reported by Bloomberg to be Mexican financier David Martínez Guzmán, said to have purchased the painting in a private sale for $12,000,000 some five years before.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: In Portrait of George Dyer Talking, how is the abstract discussed?

Portrait of George Dyer Talking is an oil painting on canvas executed in 1966 by the British painter Francis Bacon. It is a portrait of his lover George Dyer made at the height of Bacon's creative power. It depicts Dyer sitting on a revolving office stool in a luridly coloured room. His body and face are contorted, and his legs are tightly crossed. His head appears to be framed within a window or door. Above him is a naked hanging lightbulb, a favourite motif of Bacon's. The work contains a number of spatial ambiguities, not least that Dyer's body seems to be positioned both in the fore- and background.The painting was sold at Christie's, London, on 13 February 2014, realizing £42,194,500. The seller was reported by Bloomberg to be Mexican financier David Martínez Guzmán, said to have purchased the painting in a private sale for $12,000,000 some five years before.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: Focus on Portrait of George Dyer Talking and explain the Description.

The painting is formed by sweeping curves, which characterise both the description of his body and the space he occupies. He is painted in a very compact and tense manner; his hands are tightly clasped, rendered in whites and pinks, his broad and muscular neck is painted in wide brush strokes. The formation of his legs, tightly wrapped around each other, is barely distinct. Discarded documents are scattered around his feet. The painting closely resembles the 1966 Portrait of George Dyer Staring at a Blind Cord, in that both feature a hanging cord, and both works are almost Cubist in their rendering of his face.

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: Explain the Description of this artwork, Portrait of George Dyer Talking.

The painting is formed by sweeping curves, which characterise both the description of his body and the space he occupies. He is painted in a very compact and tense manner; his hands are tightly clasped, rendered in whites and pinks, his broad and muscular neck is painted in wide brush strokes. The formation of his legs, tightly wrapped around each other, is barely distinct. Discarded documents are scattered around his feet. The painting closely resembles the 1966 Portrait of George Dyer Staring at a Blind Cord, in that both feature a hanging cord, and both works are almost Cubist in their rendering of his face.

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: How does Portrait of George Dyer Talking explain its Description?

The painting is formed by sweeping curves, which characterise both the description of his body and the space he occupies. He is painted in a very compact and tense manner; his hands are tightly clasped, rendered in whites and pinks, his broad and muscular neck is painted in wide brush strokes. The formation of his legs, tightly wrapped around each other, is barely distinct. Discarded documents are scattered around his feet. The painting closely resembles the 1966 Portrait of George Dyer Staring at a Blind Cord, in that both feature a hanging cord, and both works are almost Cubist in their rendering of his face.

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: In Portrait of George Dyer Talking, how is the Description discussed?

The painting is formed by sweeping curves, which characterise both the description of his body and the space he occupies. He is painted in a very compact and tense manner; his hands are tightly clasped, rendered in whites and pinks, his broad and muscular neck is painted in wide brush strokes. The formation of his legs, tightly wrapped around each other, is barely distinct. Discarded documents are scattered around his feet. The painting closely resembles the 1966 Portrait of George Dyer Staring at a Blind Cord, in that both feature a hanging cord, and both works are almost Cubist in their rendering of his face.

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: Focus on Portrait of George Dyer Talking and explain the Death of George Dyer.

George Dyer died by suicide on 24 October 1971, two days before the opening of Bacon's triumphant and career-making retrospective at the Grand Palais. Dyer, then 37, alcoholic, deeply insecure and suffering severe and long-term depression, took an overdose of drink and barbiturates in a room at the Paris hotel shared with Bacon during a brief period of reconciliation following years of bitter recrimination.Bacon, a near-alcoholic himself, felt an acute sense of mortality and awareness of the fragility of life after his lover's death. This awareness was heightened by the death of many other close friends during the following decade. The commemorative portraits of Dyer completed in the following years are considered amongst Bacon's strongest and most affecting. In most, especially in the triptychs, Dyer is followed by black horizontal fleshy winged creatures, raw and red/pink blobs of dying flesh, or painterly arrows. These devices act both as pointers to the depravity and tragedy of the scene and as manifestations of Bacon's guilt at the death of an emotionally dependent friend.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: Explain the Death of George Dyer of this artwork, Portrait of George Dyer Talking.

George Dyer died by suicide on 24 October 1971, two days before the opening of Bacon's triumphant and career-making retrospective at the Grand Palais. Dyer, then 37, alcoholic, deeply insecure and suffering severe and long-term depression, took an overdose of drink and barbiturates in a room at the Paris hotel shared with Bacon during a brief period of reconciliation following years of bitter recrimination.Bacon, a near-alcoholic himself, felt an acute sense of mortality and awareness of the fragility of life after his lover's death. This awareness was heightened by the death of many other close friends during the following decade. The commemorative portraits of Dyer completed in the following years are considered amongst Bacon's strongest and most affecting. In most, especially in the triptychs, Dyer is followed by black horizontal fleshy winged creatures, raw and red/pink blobs of dying flesh, or painterly arrows. These devices act both as pointers to the depravity and tragedy of the scene and as manifestations of Bacon's guilt at the death of an emotionally dependent friend.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: How does Portrait of George Dyer Talking explain its Death of George Dyer?

George Dyer died by suicide on 24 October 1971, two days before the opening of Bacon's triumphant and career-making retrospective at the Grand Palais. Dyer, then 37, alcoholic, deeply insecure and suffering severe and long-term depression, took an overdose of drink and barbiturates in a room at the Paris hotel shared with Bacon during a brief period of reconciliation following years of bitter recrimination.Bacon, a near-alcoholic himself, felt an acute sense of mortality and awareness of the fragility of life after his lover's death. This awareness was heightened by the death of many other close friends during the following decade. The commemorative portraits of Dyer completed in the following years are considered amongst Bacon's strongest and most affecting. In most, especially in the triptychs, Dyer is followed by black horizontal fleshy winged creatures, raw and red/pink blobs of dying flesh, or painterly arrows. These devices act both as pointers to the depravity and tragedy of the scene and as manifestations of Bacon's guilt at the death of an emotionally dependent friend.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: In Portrait of George Dyer Talking, how is the Death of George Dyer discussed?

George Dyer died by suicide on 24 October 1971, two days before the opening of Bacon's triumphant and career-making retrospective at the Grand Palais. Dyer, then 37, alcoholic, deeply insecure and suffering severe and long-term depression, took an overdose of drink and barbiturates in a room at the Paris hotel shared with Bacon during a brief period of reconciliation following years of bitter recrimination.Bacon, a near-alcoholic himself, felt an acute sense of mortality and awareness of the fragility of life after his lover's death. This awareness was heightened by the death of many other close friends during the following decade. The commemorative portraits of Dyer completed in the following years are considered amongst Bacon's strongest and most affecting. In most, especially in the triptychs, Dyer is followed by black horizontal fleshy winged creatures, raw and red/pink blobs of dying flesh, or painterly arrows. These devices act both as pointers to the depravity and tragedy of the scene and as manifestations of Bacon's guilt at the death of an emotionally dependent friend.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: Focus on Portrait of George Dyer Talking and explain the Provenance.

Marlborough Fine Art Ltd., London.Galerie Maeght, Paris.Dr. Israel J. Rosefsky, Binghamton, New York.Sale, Christie's, New York, 5 May 1987, lot 85.Galerie Krugier & Cie, Geneva.ROC Collection, Switzerland.Private Collection, Paris.Anon. sale, Christie's New York, 15 November 2000, lot 29.Private Collection, Brazil.Thomas Ammann Fine Art AG, Zurich.Private Collection.Sale, Christie's, London, 14 February 2014, lot 10.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: Explain the Provenance of this artwork, Portrait of George Dyer Talking.

Marlborough Fine Art Ltd., London.Galerie Maeght, Paris.Dr. Israel J. Rosefsky, Binghamton, New York.Sale, Christie's, New York, 5 May 1987, lot 85.Galerie Krugier & Cie, Geneva.ROC Collection, Switzerland.Private Collection, Paris.Anon. sale, Christie's New York, 15 November 2000, lot 29.Private Collection, Brazil.Thomas Ammann Fine Art AG, Zurich.Private Collection.Sale, Christie's, London, 14 February 2014, lot 10.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: How does Portrait of George Dyer Talking explain its Provenance?

Marlborough Fine Art Ltd., London.Galerie Maeght, Paris.Dr. Israel J. Rosefsky, Binghamton, New York.Sale, Christie's, New York, 5 May 1987, lot 85.Galerie Krugier & Cie, Geneva.ROC Collection, Switzerland.Private Collection, Paris.Anon. sale, Christie's New York, 15 November 2000, lot 29.Private Collection, Brazil.Thomas Ammann Fine Art AG, Zurich.Private Collection.Sale, Christie's, London, 14 February 2014, lot 10.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Portrait of George Dyer Talking

Prompt: In Portrait of George Dyer Talking, how is the Provenance discussed?

Marlborough Fine Art Ltd., London.Galerie Maeght, Paris.Dr. Israel J. Rosefsky, Binghamton, New York.Sale, Christie's, New York, 5 May 1987, lot 85.Galerie Krugier & Cie, Geneva.ROC Collection, Switzerland.Private Collection, Paris.Anon. sale, Christie's New York, 15 November 2000, lot 29.Private Collection, Brazil.Thomas Ammann Fine Art AG, Zurich.Private Collection.Sale, Christie's, London, 14 February 2014, lot 10.

Portrait of George Dyer Staring at a Blind Cord

File:Francis Bacon - Portrait of George Dyer Talking (detail).jpg


Stevenson Memorial

Prompt: Focus on Stevenson Memorial and explain the abstract.

Stevenson Memorial is a 1903 oil painting by the American artist Abbott Handerson Thayer, intended to commemorate the writer Robert Louis Stevenson. Though Thayer initiated several paintings with the intent of honoring Stevenson, Stevenson Memorial is the only version to survive the artist's revisions.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: Explain the abstract of this artwork, Stevenson Memorial.

Stevenson Memorial is a 1903 oil painting by the American artist Abbott Handerson Thayer, intended to commemorate the writer Robert Louis Stevenson. Though Thayer initiated several paintings with the intent of honoring Stevenson, Stevenson Memorial is the only version to survive the artist's revisions.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: How does Stevenson Memorial explain its abstract?

Stevenson Memorial is a 1903 oil painting by the American artist Abbott Handerson Thayer, intended to commemorate the writer Robert Louis Stevenson. Though Thayer initiated several paintings with the intent of honoring Stevenson, Stevenson Memorial is the only version to survive the artist's revisions.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: In Stevenson Memorial, how is the abstract discussed?

Stevenson Memorial is a 1903 oil painting by the American artist Abbott Handerson Thayer, intended to commemorate the writer Robert Louis Stevenson. Though Thayer initiated several paintings with the intent of honoring Stevenson, Stevenson Memorial is the only version to survive the artist's revisions.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: Focus on Stevenson Memorial and explain the Description.

Abbott Thayer was moved by the writing of Robert Louis Stevenson, whose dramatic characterizations of human conflict resonated with the artist. Thayer painted Stevenson Memorial in his studio in Dublin, New Hampshire. The painting features a young woman clothed in a classical white gown, embellished with wings and a halo. The rock that she sits upon bears the word VAEA, and in the darkness behind her is a small palm tree. VAEA refers to a mountain in the Samoan Islands, atop which Stevenson was buried after his death in 1894. Although he later painted over them, originally Thayer inscribed Stevenson's name and coat of arms across the top of the canvas. After its completion the painting was exhibited in museums across the country, to popular and critical acclaim.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: Explain the Description of this artwork, Stevenson Memorial.

Abbott Thayer was moved by the writing of Robert Louis Stevenson, whose dramatic characterizations of human conflict resonated with the artist. Thayer painted Stevenson Memorial in his studio in Dublin, New Hampshire. The painting features a young woman clothed in a classical white gown, embellished with wings and a halo. The rock that she sits upon bears the word VAEA, and in the darkness behind her is a small palm tree. VAEA refers to a mountain in the Samoan Islands, atop which Stevenson was buried after his death in 1894. Although he later painted over them, originally Thayer inscribed Stevenson's name and coat of arms across the top of the canvas. After its completion the painting was exhibited in museums across the country, to popular and critical acclaim.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: How does Stevenson Memorial explain its Description?

Abbott Thayer was moved by the writing of Robert Louis Stevenson, whose dramatic characterizations of human conflict resonated with the artist. Thayer painted Stevenson Memorial in his studio in Dublin, New Hampshire. The painting features a young woman clothed in a classical white gown, embellished with wings and a halo. The rock that she sits upon bears the word VAEA, and in the darkness behind her is a small palm tree. VAEA refers to a mountain in the Samoan Islands, atop which Stevenson was buried after his death in 1894. Although he later painted over them, originally Thayer inscribed Stevenson's name and coat of arms across the top of the canvas. After its completion the painting was exhibited in museums across the country, to popular and critical acclaim.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: In Stevenson Memorial, how is the Description discussed?

Abbott Thayer was moved by the writing of Robert Louis Stevenson, whose dramatic characterizations of human conflict resonated with the artist. Thayer painted Stevenson Memorial in his studio in Dublin, New Hampshire. The painting features a young woman clothed in a classical white gown, embellished with wings and a halo. The rock that she sits upon bears the word VAEA, and in the darkness behind her is a small palm tree. VAEA refers to a mountain in the Samoan Islands, atop which Stevenson was buried after his death in 1894. Although he later painted over them, originally Thayer inscribed Stevenson's name and coat of arms across the top of the canvas. After its completion the painting was exhibited in museums across the country, to popular and critical acclaim.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: Focus on Stevenson Memorial and explain the Related works and working methods.

It was Thayer's intent that an earlier painting, My Children (Mary, Gerald and Gladys Thayer), completed in 1897, would serve as memorial to the author. In that work his daughter Mary had initially been painted holding a plaque with Stevenson's monogram, but Thayer transformed the plaque into a laurel wreath and dedicated the work to his children after being told that the painting's connection to Stevenson was not clear.  The winged figure of Stevenson Memorial was painted over an earlier work, also a portrait of his three children; it, too, was envisioned as a tribute to Stevenson.Thayer's working methods were unconventional. According to Rockwell Kent, who at that time worked as an apprentice and copyist in Thayer's studio, Thayer was displeased with the appearance of the rock upon which the figure was seated, and asked for the younger artist's opinion:With not too much conviction I offered my criticism. "Good!" said Thayer. "Now I'll go out. You take my brushes and paint the rock the way you think it ought to be. And call me when you've finished."....So I went to work. And when I had done the best I could, I called Thayer back. Thayer was generous. "Yes," he cried, "I think you've helped it." Suddenly he cried, "Look! We're both wrong—building it up little by little like that! God said, 'let there be a rock'—and there it was." And picking up a broom he swept it right and left across the painting. It did the trick.A later painting, Winged Figure Seated upon a Rock (Freer Gallery of Art), was another canvas begun as an alternative conception of the Stevenson Memorial, but was not completed until years later. In 1914 Thayer transformed it into a memorial for his late wife, with his daughter Gladys posing for the figure and a Latin inscription translated as "Mother of my daughter! To you this monument" painted below.The model for Stevenson Memorial was Bessie Price, a guest of the Thayer household that caught the attention of Mr.Thayer. She had just traveled from Ireland to visit her siblings who worked in the household and decided to stay in America to be Thayer's servant. She had previously posed for other paintings by the artist, including Portrait of Bessie Price, Young Woman (Metropolitan Museum of Art), and Seated Angel (Wadsworth Atheneum).

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: Explain the Related works and working methods of this artwork, Stevenson Memorial.

It was Thayer's intent that an earlier painting, My Children (Mary, Gerald and Gladys Thayer), completed in 1897, would serve as memorial to the author. In that work his daughter Mary had initially been painted holding a plaque with Stevenson's monogram, but Thayer transformed the plaque into a laurel wreath and dedicated the work to his children after being told that the painting's connection to Stevenson was not clear.  The winged figure of Stevenson Memorial was painted over an earlier work, also a portrait of his three children; it, too, was envisioned as a tribute to Stevenson.Thayer's working methods were unconventional. According to Rockwell Kent, who at that time worked as an apprentice and copyist in Thayer's studio, Thayer was displeased with the appearance of the rock upon which the figure was seated, and asked for the younger artist's opinion:With not too much conviction I offered my criticism. "Good!" said Thayer. "Now I'll go out. You take my brushes and paint the rock the way you think it ought to be. And call me when you've finished."....So I went to work. And when I had done the best I could, I called Thayer back. Thayer was generous. "Yes," he cried, "I think you've helped it." Suddenly he cried, "Look! We're both wrong—building it up little by little like that! God said, 'let there be a rock'—and there it was." And picking up a broom he swept it right and left across the painting. It did the trick.A later painting, Winged Figure Seated upon a Rock (Freer Gallery of Art), was another canvas begun as an alternative conception of the Stevenson Memorial, but was not completed until years later. In 1914 Thayer transformed it into a memorial for his late wife, with his daughter Gladys posing for the figure and a Latin inscription translated as "Mother of my daughter! To you this monument" painted below.The model for Stevenson Memorial was Bessie Price, a guest of the Thayer household that caught the attention of Mr.Thayer. She had just traveled from Ireland to visit her siblings who worked in the household and decided to stay in America to be Thayer's servant. She had previously posed for other paintings by the artist, including Portrait of Bessie Price, Young Woman (Metropolitan Museum of Art), and Seated Angel (Wadsworth Atheneum).

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: How does Stevenson Memorial explain its Related works and working methods?

It was Thayer's intent that an earlier painting, My Children (Mary, Gerald and Gladys Thayer), completed in 1897, would serve as memorial to the author. In that work his daughter Mary had initially been painted holding a plaque with Stevenson's monogram, but Thayer transformed the plaque into a laurel wreath and dedicated the work to his children after being told that the painting's connection to Stevenson was not clear.  The winged figure of Stevenson Memorial was painted over an earlier work, also a portrait of his three children; it, too, was envisioned as a tribute to Stevenson.Thayer's working methods were unconventional. According to Rockwell Kent, who at that time worked as an apprentice and copyist in Thayer's studio, Thayer was displeased with the appearance of the rock upon which the figure was seated, and asked for the younger artist's opinion:With not too much conviction I offered my criticism. "Good!" said Thayer. "Now I'll go out. You take my brushes and paint the rock the way you think it ought to be. And call me when you've finished."....So I went to work. And when I had done the best I could, I called Thayer back. Thayer was generous. "Yes," he cried, "I think you've helped it." Suddenly he cried, "Look! We're both wrong—building it up little by little like that! God said, 'let there be a rock'—and there it was." And picking up a broom he swept it right and left across the painting. It did the trick.A later painting, Winged Figure Seated upon a Rock (Freer Gallery of Art), was another canvas begun as an alternative conception of the Stevenson Memorial, but was not completed until years later. In 1914 Thayer transformed it into a memorial for his late wife, with his daughter Gladys posing for the figure and a Latin inscription translated as "Mother of my daughter! To you this monument" painted below.The model for Stevenson Memorial was Bessie Price, a guest of the Thayer household that caught the attention of Mr.Thayer. She had just traveled from Ireland to visit her siblings who worked in the household and decided to stay in America to be Thayer's servant. She had previously posed for other paintings by the artist, including Portrait of Bessie Price, Young Woman (Metropolitan Museum of Art), and Seated Angel (Wadsworth Atheneum).

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: In Stevenson Memorial, how is the Related works and working methods discussed?

It was Thayer's intent that an earlier painting, My Children (Mary, Gerald and Gladys Thayer), completed in 1897, would serve as memorial to the author. In that work his daughter Mary had initially been painted holding a plaque with Stevenson's monogram, but Thayer transformed the plaque into a laurel wreath and dedicated the work to his children after being told that the painting's connection to Stevenson was not clear.  The winged figure of Stevenson Memorial was painted over an earlier work, also a portrait of his three children; it, too, was envisioned as a tribute to Stevenson.Thayer's working methods were unconventional. According to Rockwell Kent, who at that time worked as an apprentice and copyist in Thayer's studio, Thayer was displeased with the appearance of the rock upon which the figure was seated, and asked for the younger artist's opinion:With not too much conviction I offered my criticism. "Good!" said Thayer. "Now I'll go out. You take my brushes and paint the rock the way you think it ought to be. And call me when you've finished."....So I went to work. And when I had done the best I could, I called Thayer back. Thayer was generous. "Yes," he cried, "I think you've helped it." Suddenly he cried, "Look! We're both wrong—building it up little by little like that! God said, 'let there be a rock'—and there it was." And picking up a broom he swept it right and left across the painting. It did the trick.A later painting, Winged Figure Seated upon a Rock (Freer Gallery of Art), was another canvas begun as an alternative conception of the Stevenson Memorial, but was not completed until years later. In 1914 Thayer transformed it into a memorial for his late wife, with his daughter Gladys posing for the figure and a Latin inscription translated as "Mother of my daughter! To you this monument" painted below.The model for Stevenson Memorial was Bessie Price, a guest of the Thayer household that caught the attention of Mr.Thayer. She had just traveled from Ireland to visit her siblings who worked in the household and decided to stay in America to be Thayer's servant. She had previously posed for other paintings by the artist, including Portrait of Bessie Price, Young Woman (Metropolitan Museum of Art), and Seated Angel (Wadsworth Atheneum).

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: Focus on Stevenson Memorial and explain the Interpretation.

Although Thayer never discussed the meaning of his angelic figures like the one in Stevenson Memorial, in 1912 he offered a general explanation: "Doubtless my lifelong passion for birds has helped to incline me to work wings into my pictures; but primarily I have put on wings probably more to symbolize an exalted atmosphere (above the realm of genre painting) where one need not explain the action of the figures". From the 1890s on many of the winged figures painted by Thayer are thought to have expressed the artist's contemplations on grief, and to represent his beliefs on the relationship between body and spirit, but it is also said that the artist painted his models the way that he saw their soul and had a deep connection with each model. According to museum curator Richard Murray, Stevenson Memorial allowed Thayer to meld his own concepts of "the polar extremes of darkness and light symbolizing the coexistence of madness and sanity and good and evil" with similar themes from Stevenson's writing.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: Explain the Interpretation of this artwork, Stevenson Memorial.

Although Thayer never discussed the meaning of his angelic figures like the one in Stevenson Memorial, in 1912 he offered a general explanation: "Doubtless my lifelong passion for birds has helped to incline me to work wings into my pictures; but primarily I have put on wings probably more to symbolize an exalted atmosphere (above the realm of genre painting) where one need not explain the action of the figures". From the 1890s on many of the winged figures painted by Thayer are thought to have expressed the artist's contemplations on grief, and to represent his beliefs on the relationship between body and spirit, but it is also said that the artist painted his models the way that he saw their soul and had a deep connection with each model. According to museum curator Richard Murray, Stevenson Memorial allowed Thayer to meld his own concepts of "the polar extremes of darkness and light symbolizing the coexistence of madness and sanity and good and evil" with similar themes from Stevenson's writing.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: How does Stevenson Memorial explain its Interpretation?

Although Thayer never discussed the meaning of his angelic figures like the one in Stevenson Memorial, in 1912 he offered a general explanation: "Doubtless my lifelong passion for birds has helped to incline me to work wings into my pictures; but primarily I have put on wings probably more to symbolize an exalted atmosphere (above the realm of genre painting) where one need not explain the action of the figures". From the 1890s on many of the winged figures painted by Thayer are thought to have expressed the artist's contemplations on grief, and to represent his beliefs on the relationship between body and spirit, but it is also said that the artist painted his models the way that he saw their soul and had a deep connection with each model. According to museum curator Richard Murray, Stevenson Memorial allowed Thayer to meld his own concepts of "the polar extremes of darkness and light symbolizing the coexistence of madness and sanity and good and evil" with similar themes from Stevenson's writing.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Stevenson Memorial

Prompt: In Stevenson Memorial, how is the Interpretation discussed?

Although Thayer never discussed the meaning of his angelic figures like the one in Stevenson Memorial, in 1912 he offered a general explanation: "Doubtless my lifelong passion for birds has helped to incline me to work wings into my pictures; but primarily I have put on wings probably more to symbolize an exalted atmosphere (above the realm of genre painting) where one need not explain the action of the figures". From the 1890s on many of the winged figures painted by Thayer are thought to have expressed the artist's contemplations on grief, and to represent his beliefs on the relationship between body and spirit, but it is also said that the artist painted his models the way that he saw their soul and had a deep connection with each model. According to museum curator Richard Murray, Stevenson Memorial allowed Thayer to meld his own concepts of "the polar extremes of darkness and light symbolizing the coexistence of madness and sanity and good and evil" with similar themes from Stevenson's writing.

Category:Paintings in the Smithsonian American Art Museum

File:Abbott Handerson Thayer - My Children (Mary, Gerald, and Gladys Thayer) - Google Art Project.jpg

Abbott Thayer. ''My Children (Mary, Gerald and Gladys Thayer)'', 1897. [[Smithsonian American Art Museum


Facing the Crowd

Prompt: Focus on Facing the Crowd and explain the abstract.

Facing the Crowd is a series of two outdoor sculptures by American artist Michael Stutz, located outside of Providence Park in Portland, Oregon, in the United States. Composed of silicon bronze, the sculptures depict faces of a laughing man and a smiling boy. They were funded by the City of Portland's Percent for Art program and were installed in 2001, during a major remodel of the outdoor sports venue then known as PGE Park.

Sculpture on Southwest 20th, depicting a laughing man

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

File:Facing the Crowd at 20th - Portland, Oregon.JPG


Facing the Crowd

Prompt: Explain the abstract of this artwork, Facing the Crowd.

Facing the Crowd is a series of two outdoor sculptures by American artist Michael Stutz, located outside of Providence Park in Portland, Oregon, in the United States. Composed of silicon bronze, the sculptures depict faces of a laughing man and a smiling boy. They were funded by the City of Portland's Percent for Art program and were installed in 2001, during a major remodel of the outdoor sports venue then known as PGE Park.

Sculpture on Southwest 20th, depicting a laughing man

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

File:Facing the Crowd at 20th - Portland, Oregon.JPG


Facing the Crowd

Prompt: How does Facing the Crowd explain its abstract?

Facing the Crowd is a series of two outdoor sculptures by American artist Michael Stutz, located outside of Providence Park in Portland, Oregon, in the United States. Composed of silicon bronze, the sculptures depict faces of a laughing man and a smiling boy. They were funded by the City of Portland's Percent for Art program and were installed in 2001, during a major remodel of the outdoor sports venue then known as PGE Park.

Sculpture on Southwest 20th, depicting a laughing man

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

File:Facing the Crowd at 20th - Portland, Oregon.JPG


Facing the Crowd

Prompt: In Facing the Crowd, how is the abstract discussed?

Facing the Crowd is a series of two outdoor sculptures by American artist Michael Stutz, located outside of Providence Park in Portland, Oregon, in the United States. Composed of silicon bronze, the sculptures depict faces of a laughing man and a smiling boy. They were funded by the City of Portland's Percent for Art program and were installed in 2001, during a major remodel of the outdoor sports venue then known as PGE Park.

Sculpture on Southwest 20th, depicting a laughing man

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

File:Facing the Crowd at 20th - Portland, Oregon.JPG


Facing the Crowd

Prompt: Focus on Facing the Crowd and explain the Description.

The sculptures, which depict the faces of a man and a boy, are located at 18th and 20th Avenues at Morrison Street in Portland's Goose Hollow neighborhood. Designed by Michael Stutz, they were installed in 2001 during the nearly $40 million remodel of PGE Park, the outdoor sports venue now known as Providence Park. Funding was provided by the City of Portland's Percent for Art program. The faces are made of welded silicon bronze and are each approximately 8 feet (2.4 m) tall. Similar in appearance, the one at KeyBank Plaza on 18th Avenue depicts a smiling boy, while the one at the intersection of 20th and Morrison depicts a laughing man.Stutz said of Facing the Crowd: "The heartily smiling man and boy faces portray two stages in the life of an individual, relating to the historical evolution and changing character of the site itself." He has also said that the work's "dynamic presence becomes a celebration of joy and playfulness. [His] hope is that these giant totems engage the spectator with their simple and universal theme of maintaining humor in the midst of chaotic urban world."

Sculpture on Southwest 20th, depicting a laughing man

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

File:Facing the Crowd at 20th - Portland, Oregon.JPG


Facing the Crowd

Prompt: Explain the Description of this artwork, Facing the Crowd.

The sculptures, which depict the faces of a man and a boy, are located at 18th and 20th Avenues at Morrison Street in Portland's Goose Hollow neighborhood. Designed by Michael Stutz, they were installed in 2001 during the nearly $40 million remodel of PGE Park, the outdoor sports venue now known as Providence Park. Funding was provided by the City of Portland's Percent for Art program. The faces are made of welded silicon bronze and are each approximately 8 feet (2.4 m) tall. Similar in appearance, the one at KeyBank Plaza on 18th Avenue depicts a smiling boy, while the one at the intersection of 20th and Morrison depicts a laughing man.Stutz said of Facing the Crowd: "The heartily smiling man and boy faces portray two stages in the life of an individual, relating to the historical evolution and changing character of the site itself." He has also said that the work's "dynamic presence becomes a celebration of joy and playfulness. [His] hope is that these giant totems engage the spectator with their simple and universal theme of maintaining humor in the midst of chaotic urban world."

Sculpture on Southwest 20th, depicting a laughing man

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

File:Facing the Crowd at 20th - Portland, Oregon.JPG


Facing the Crowd

Prompt: How does Facing the Crowd explain its Description?

The sculptures, which depict the faces of a man and a boy, are located at 18th and 20th Avenues at Morrison Street in Portland's Goose Hollow neighborhood. Designed by Michael Stutz, they were installed in 2001 during the nearly $40 million remodel of PGE Park, the outdoor sports venue now known as Providence Park. Funding was provided by the City of Portland's Percent for Art program. The faces are made of welded silicon bronze and are each approximately 8 feet (2.4 m) tall. Similar in appearance, the one at KeyBank Plaza on 18th Avenue depicts a smiling boy, while the one at the intersection of 20th and Morrison depicts a laughing man.Stutz said of Facing the Crowd: "The heartily smiling man and boy faces portray two stages in the life of an individual, relating to the historical evolution and changing character of the site itself." He has also said that the work's "dynamic presence becomes a celebration of joy and playfulness. [His] hope is that these giant totems engage the spectator with their simple and universal theme of maintaining humor in the midst of chaotic urban world."

Sculpture on Southwest 20th, depicting a laughing man

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

File:Facing the Crowd at 20th - Portland, Oregon.JPG


Facing the Crowd

Prompt: In Facing the Crowd, how is the Description discussed?

The sculptures, which depict the faces of a man and a boy, are located at 18th and 20th Avenues at Morrison Street in Portland's Goose Hollow neighborhood. Designed by Michael Stutz, they were installed in 2001 during the nearly $40 million remodel of PGE Park, the outdoor sports venue now known as Providence Park. Funding was provided by the City of Portland's Percent for Art program. The faces are made of welded silicon bronze and are each approximately 8 feet (2.4 m) tall. Similar in appearance, the one at KeyBank Plaza on 18th Avenue depicts a smiling boy, while the one at the intersection of 20th and Morrison depicts a laughing man.Stutz said of Facing the Crowd: "The heartily smiling man and boy faces portray two stages in the life of an individual, relating to the historical evolution and changing character of the site itself." He has also said that the work's "dynamic presence becomes a celebration of joy and playfulness. [His] hope is that these giant totems engage the spectator with their simple and universal theme of maintaining humor in the midst of chaotic urban world."

Sculpture on Southwest 20th, depicting a laughing man

Category:Sculptures of children in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon

File:Facing the Crowd at 20th - Portland, Oregon.JPG


Prompt: Focus on Mortuary Chapel, Royal Hospital for Sick Children and explain the abstract.

The Mortuary Chapel of the Royal Hospital for Sick Children in Edinburgh is a late nineteenth-century chapel, designed by the Scottish architect George Washington Browne, with mural decorations by the Arts and Crafts artist Phoebe Anna Traquair. The chapel is designated as a "Category A" listed building by Historic Scotland. The murals are Phoebe Traquair's first professional commission, and the sole survivor of around 20 commissions instigated by Patrick Geddes' Edinburgh Social Union. They were described in 1887 as "the most important and memorable portion of the art of the Social Union"  and in an August 1891 letter to her nephew, Traquair says "I myself believe that in some ways I shall never do better or maybe as well."

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: Explain the abstract of this artwork, Mortuary Chapel, Royal Hospital for Sick Children.

The Mortuary Chapel of the Royal Hospital for Sick Children in Edinburgh is a late nineteenth-century chapel, designed by the Scottish architect George Washington Browne, with mural decorations by the Arts and Crafts artist Phoebe Anna Traquair. The chapel is designated as a "Category A" listed building by Historic Scotland. The murals are Phoebe Traquair's first professional commission, and the sole survivor of around 20 commissions instigated by Patrick Geddes' Edinburgh Social Union. They were described in 1887 as "the most important and memorable portion of the art of the Social Union"  and in an August 1891 letter to her nephew, Traquair says "I myself believe that in some ways I shall never do better or maybe as well."

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: How does Mortuary Chapel, Royal Hospital for Sick Children explain its abstract?

The Mortuary Chapel of the Royal Hospital for Sick Children in Edinburgh is a late nineteenth-century chapel, designed by the Scottish architect George Washington Browne, with mural decorations by the Arts and Crafts artist Phoebe Anna Traquair. The chapel is designated as a "Category A" listed building by Historic Scotland. The murals are Phoebe Traquair's first professional commission, and the sole survivor of around 20 commissions instigated by Patrick Geddes' Edinburgh Social Union. They were described in 1887 as "the most important and memorable portion of the art of the Social Union"  and in an August 1891 letter to her nephew, Traquair says "I myself believe that in some ways I shall never do better or maybe as well."

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: In Mortuary Chapel, Royal Hospital for Sick Children, how is the abstract discussed?

The Mortuary Chapel of the Royal Hospital for Sick Children in Edinburgh is a late nineteenth-century chapel, designed by the Scottish architect George Washington Browne, with mural decorations by the Arts and Crafts artist Phoebe Anna Traquair. The chapel is designated as a "Category A" listed building by Historic Scotland. The murals are Phoebe Traquair's first professional commission, and the sole survivor of around 20 commissions instigated by Patrick Geddes' Edinburgh Social Union. They were described in 1887 as "the most important and memorable portion of the art of the Social Union"  and in an August 1891 letter to her nephew, Traquair says "I myself believe that in some ways I shall never do better or maybe as well."

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: Focus on Mortuary Chapel, Royal Hospital for Sick Children and explain the First Mortuary Chapel.

The original mortuary chapel was located at the Lauriston Lane site of the Royal Hospital for Sick Children.In April 1885, Traquair was approached by the Edinburgh Social Union and asked if she would decorate a converted coalhouse on the original hospital site at Lauriston Lane, now to be used as a mortuary chapel. The building was small, only 3-metres by 4-metres, but the hospital ladies committee hoped that it could become “a suitable place where the bodies can be left reverently and lovingly for the parents before the burials”. As a mother of three children herself, Traquair was happy to accept the commission.The decorations were completed in 1886 and strongly reflect themes of motherhood and the redemption of mankind.  In a time when as many as 8% of children did not live to see their first birthday, Traquair aimed to offer comfort and support to grieving parents through her decoration scheme. In style she draws on interpretations of medieval illuminated manuscripts and Eastern Orthodox imagery, in a mixture of realism and Symbolism. A review in the Scottish Art Review by Gerald Baldwin Brown in 1889 refers to the murals as “...a piece of illumination enlarged”.

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: Explain the First Mortuary Chapel of this artwork, Mortuary Chapel, Royal Hospital for Sick Children.

The original mortuary chapel was located at the Lauriston Lane site of the Royal Hospital for Sick Children.In April 1885, Traquair was approached by the Edinburgh Social Union and asked if she would decorate a converted coalhouse on the original hospital site at Lauriston Lane, now to be used as a mortuary chapel. The building was small, only 3-metres by 4-metres, but the hospital ladies committee hoped that it could become “a suitable place where the bodies can be left reverently and lovingly for the parents before the burials”. As a mother of three children herself, Traquair was happy to accept the commission.The decorations were completed in 1886 and strongly reflect themes of motherhood and the redemption of mankind.  In a time when as many as 8% of children did not live to see their first birthday, Traquair aimed to offer comfort and support to grieving parents through her decoration scheme. In style she draws on interpretations of medieval illuminated manuscripts and Eastern Orthodox imagery, in a mixture of realism and Symbolism. A review in the Scottish Art Review by Gerald Baldwin Brown in 1889 refers to the murals as “...a piece of illumination enlarged”.

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: How does Mortuary Chapel, Royal Hospital for Sick Children explain its First Mortuary Chapel?

The original mortuary chapel was located at the Lauriston Lane site of the Royal Hospital for Sick Children.In April 1885, Traquair was approached by the Edinburgh Social Union and asked if she would decorate a converted coalhouse on the original hospital site at Lauriston Lane, now to be used as a mortuary chapel. The building was small, only 3-metres by 4-metres, but the hospital ladies committee hoped that it could become “a suitable place where the bodies can be left reverently and lovingly for the parents before the burials”. As a mother of three children herself, Traquair was happy to accept the commission.The decorations were completed in 1886 and strongly reflect themes of motherhood and the redemption of mankind.  In a time when as many as 8% of children did not live to see their first birthday, Traquair aimed to offer comfort and support to grieving parents through her decoration scheme. In style she draws on interpretations of medieval illuminated manuscripts and Eastern Orthodox imagery, in a mixture of realism and Symbolism. A review in the Scottish Art Review by Gerald Baldwin Brown in 1889 refers to the murals as “...a piece of illumination enlarged”.

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: In Mortuary Chapel, Royal Hospital for Sick Children, how is the First Mortuary Chapel discussed?

The original mortuary chapel was located at the Lauriston Lane site of the Royal Hospital for Sick Children.In April 1885, Traquair was approached by the Edinburgh Social Union and asked if she would decorate a converted coalhouse on the original hospital site at Lauriston Lane, now to be used as a mortuary chapel. The building was small, only 3-metres by 4-metres, but the hospital ladies committee hoped that it could become “a suitable place where the bodies can be left reverently and lovingly for the parents before the burials”. As a mother of three children herself, Traquair was happy to accept the commission.The decorations were completed in 1886 and strongly reflect themes of motherhood and the redemption of mankind.  In a time when as many as 8% of children did not live to see their first birthday, Traquair aimed to offer comfort and support to grieving parents through her decoration scheme. In style she draws on interpretations of medieval illuminated manuscripts and Eastern Orthodox imagery, in a mixture of realism and Symbolism. A review in the Scottish Art Review by Gerald Baldwin Brown in 1889 refers to the murals as “...a piece of illumination enlarged”.

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: Focus on Mortuary Chapel, Royal Hospital for Sick Children and explain the Second Mortuary Chapel.

In 1891, the Sick Children’s hospital moved to a new site at Rillbank in Sciennes and the little chapel was abandoned. The second chapel was built as part of Washington Browne's overall design for the hospital and is a single storey building in red sandstone located at the northeast corner of the main hospital building.Although the old hospital site had been acquired by the Royal Infirmary of Edinburgh the murals were at risk of slow destruction as the chapel was no longer being used. Then, thanks to a petition led by Traquair herself, in 1894 some of the murals were successfully transported to a new purpose-built mortuary chapel. There were significant technical and logistical difficulties; indeed some of the panels were moved and installed still attached to the bricks of the old building. As the new mortuary was larger than the original, panels from the first scheme were repaired, surrounded with fresh plaster, and the spaces filled with an enlarged decoration scheme. Although the two schemes are united by their use of colour, the second scheme deliberately uses a simpler and more childlike manner.The mortuary chapel remains in use within the Sick Children’s Hospital, though curtains have been installed so that the murals can be covered when required, as the religious themes reflected in the images are not always appropriate.In September 2017, the Royal Hospital for Sick Children was sold to property developers, including the Mortuary Chapel.

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: Explain the Second Mortuary Chapel of this artwork, Mortuary Chapel, Royal Hospital for Sick Children.

In 1891, the Sick Children’s hospital moved to a new site at Rillbank in Sciennes and the little chapel was abandoned. The second chapel was built as part of Washington Browne's overall design for the hospital and is a single storey building in red sandstone located at the northeast corner of the main hospital building.Although the old hospital site had been acquired by the Royal Infirmary of Edinburgh the murals were at risk of slow destruction as the chapel was no longer being used. Then, thanks to a petition led by Traquair herself, in 1894 some of the murals were successfully transported to a new purpose-built mortuary chapel. There were significant technical and logistical difficulties; indeed some of the panels were moved and installed still attached to the bricks of the old building. As the new mortuary was larger than the original, panels from the first scheme were repaired, surrounded with fresh plaster, and the spaces filled with an enlarged decoration scheme. Although the two schemes are united by their use of colour, the second scheme deliberately uses a simpler and more childlike manner.The mortuary chapel remains in use within the Sick Children’s Hospital, though curtains have been installed so that the murals can be covered when required, as the religious themes reflected in the images are not always appropriate.In September 2017, the Royal Hospital for Sick Children was sold to property developers, including the Mortuary Chapel.

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: How does Mortuary Chapel, Royal Hospital for Sick Children explain its Second Mortuary Chapel?

In 1891, the Sick Children’s hospital moved to a new site at Rillbank in Sciennes and the little chapel was abandoned. The second chapel was built as part of Washington Browne's overall design for the hospital and is a single storey building in red sandstone located at the northeast corner of the main hospital building.Although the old hospital site had been acquired by the Royal Infirmary of Edinburgh the murals were at risk of slow destruction as the chapel was no longer being used. Then, thanks to a petition led by Traquair herself, in 1894 some of the murals were successfully transported to a new purpose-built mortuary chapel. There were significant technical and logistical difficulties; indeed some of the panels were moved and installed still attached to the bricks of the old building. As the new mortuary was larger than the original, panels from the first scheme were repaired, surrounded with fresh plaster, and the spaces filled with an enlarged decoration scheme. Although the two schemes are united by their use of colour, the second scheme deliberately uses a simpler and more childlike manner.The mortuary chapel remains in use within the Sick Children’s Hospital, though curtains have been installed so that the murals can be covered when required, as the religious themes reflected in the images are not always appropriate.In September 2017, the Royal Hospital for Sick Children was sold to property developers, including the Mortuary Chapel.

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Prompt: In Mortuary Chapel, Royal Hospital for Sick Children, how is the Second Mortuary Chapel discussed?

In 1891, the Sick Children’s hospital moved to a new site at Rillbank in Sciennes and the little chapel was abandoned. The second chapel was built as part of Washington Browne's overall design for the hospital and is a single storey building in red sandstone located at the northeast corner of the main hospital building.Although the old hospital site had been acquired by the Royal Infirmary of Edinburgh the murals were at risk of slow destruction as the chapel was no longer being used. Then, thanks to a petition led by Traquair herself, in 1894 some of the murals were successfully transported to a new purpose-built mortuary chapel. There were significant technical and logistical difficulties; indeed some of the panels were moved and installed still attached to the bricks of the old building. As the new mortuary was larger than the original, panels from the first scheme were repaired, surrounded with fresh plaster, and the spaces filled with an enlarged decoration scheme. Although the two schemes are united by their use of colour, the second scheme deliberately uses a simpler and more childlike manner.The mortuary chapel remains in use within the Sick Children’s Hospital, though curtains have been installed so that the murals can be covered when required, as the religious themes reflected in the images are not always appropriate.In September 2017, the Royal Hospital for Sick Children was sold to property developers, including the Mortuary Chapel.

Category:Buildings and structures in Edinburgh

Royal Hospital for Sick Children, Edinburgh


Studies of the Fetus in the Womb

Prompt: Focus on Studies of the Fetus in the Womb and explain the abstract.

Studies of the Fetus in the Womb are two coloured annotated sketches by Leonardo da Vinci made in around 1511. The studies correctly depict the human fetus in its proper position inside a dissected uterus. Leonardo depicted the uterus with one chamber, in contrast to theories that the uterus had multiple chambers which many believed divided fetuses into separate compartments in the case of twins. Leonardo also correctly drew the uterine artery and the vascular system of the cervix and vagina.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: Explain the abstract of this artwork, Studies of the Fetus in the Womb.

Studies of the Fetus in the Womb are two coloured annotated sketches by Leonardo da Vinci made in around 1511. The studies correctly depict the human fetus in its proper position inside a dissected uterus. Leonardo depicted the uterus with one chamber, in contrast to theories that the uterus had multiple chambers which many believed divided fetuses into separate compartments in the case of twins. Leonardo also correctly drew the uterine artery and the vascular system of the cervix and vagina.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: How does Studies of the Fetus in the Womb explain its abstract?

Studies of the Fetus in the Womb are two coloured annotated sketches by Leonardo da Vinci made in around 1511. The studies correctly depict the human fetus in its proper position inside a dissected uterus. Leonardo depicted the uterus with one chamber, in contrast to theories that the uterus had multiple chambers which many believed divided fetuses into separate compartments in the case of twins. Leonardo also correctly drew the uterine artery and the vascular system of the cervix and vagina.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: In Studies of the Fetus in the Womb, how is the abstract discussed?

Studies of the Fetus in the Womb are two coloured annotated sketches by Leonardo da Vinci made in around 1511. The studies correctly depict the human fetus in its proper position inside a dissected uterus. Leonardo depicted the uterus with one chamber, in contrast to theories that the uterus had multiple chambers which many believed divided fetuses into separate compartments in the case of twins. Leonardo also correctly drew the uterine artery and the vascular system of the cervix and vagina.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: Focus on Studies of the Fetus in the Womb and explain the Preparation and the studies.

Leonardo studied human embryology with the help of anatomist Marcantonio della Torre and saw the fetus within a cadaver. The first study, measuring 30.5×22 cm, shows the fetus in a breech position inside a dissected uterus. Leonardo mistakenly depicted the cotyledons in the vascular walls of the human uterus that he had previously found in a cow uterus. The other study, measuring 30.3×22 cm, shows female external genitalia, the supposed arrangement of abdominal muscles on the top right and fetus from different angles. The tablet at the top contains an Italian inscription: "Dimanda la moglie di Biagin Crivelli come il cappone alleva le oua della ghallina essendo lui imbricato" ("Ask Biagino Crivelli's wife how the capon rears and hatches the eggs of hens when he is unplucked"). Leonardo theorised that the umbilical cord was responsible for taking the fetus's urine outside of the uterus.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: Explain the Preparation and the studies of this artwork, Studies of the Fetus in the Womb.

Leonardo studied human embryology with the help of anatomist Marcantonio della Torre and saw the fetus within a cadaver. The first study, measuring 30.5×22 cm, shows the fetus in a breech position inside a dissected uterus. Leonardo mistakenly depicted the cotyledons in the vascular walls of the human uterus that he had previously found in a cow uterus. The other study, measuring 30.3×22 cm, shows female external genitalia, the supposed arrangement of abdominal muscles on the top right and fetus from different angles. The tablet at the top contains an Italian inscription: "Dimanda la moglie di Biagin Crivelli come il cappone alleva le oua della ghallina essendo lui imbricato" ("Ask Biagino Crivelli's wife how the capon rears and hatches the eggs of hens when he is unplucked"). Leonardo theorised that the umbilical cord was responsible for taking the fetus's urine outside of the uterus.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: How does Studies of the Fetus in the Womb explain its Preparation and the studies?

Leonardo studied human embryology with the help of anatomist Marcantonio della Torre and saw the fetus within a cadaver. The first study, measuring 30.5×22 cm, shows the fetus in a breech position inside a dissected uterus. Leonardo mistakenly depicted the cotyledons in the vascular walls of the human uterus that he had previously found in a cow uterus. The other study, measuring 30.3×22 cm, shows female external genitalia, the supposed arrangement of abdominal muscles on the top right and fetus from different angles. The tablet at the top contains an Italian inscription: "Dimanda la moglie di Biagin Crivelli come il cappone alleva le oua della ghallina essendo lui imbricato" ("Ask Biagino Crivelli's wife how the capon rears and hatches the eggs of hens when he is unplucked"). Leonardo theorised that the umbilical cord was responsible for taking the fetus's urine outside of the uterus.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: In Studies of the Fetus in the Womb, how is the Preparation and the studies discussed?

Leonardo studied human embryology with the help of anatomist Marcantonio della Torre and saw the fetus within a cadaver. The first study, measuring 30.5×22 cm, shows the fetus in a breech position inside a dissected uterus. Leonardo mistakenly depicted the cotyledons in the vascular walls of the human uterus that he had previously found in a cow uterus. The other study, measuring 30.3×22 cm, shows female external genitalia, the supposed arrangement of abdominal muscles on the top right and fetus from different angles. The tablet at the top contains an Italian inscription: "Dimanda la moglie di Biagin Crivelli come il cappone alleva le oua della ghallina essendo lui imbricato" ("Ask Biagino Crivelli's wife how the capon rears and hatches the eggs of hens when he is unplucked"). Leonardo theorised that the umbilical cord was responsible for taking the fetus's urine outside of the uterus.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: Focus on Studies of the Fetus in the Womb and explain the Provenance.

The studies were initially bequeathed to Francesco Melzi. In c. 1582–90 they were bought from his heirs by Pompeo Leoni and by 1630 they belonged to Thomas Howard, 2nd Earl of Arundel. Since 1690 the studies have been housed in the Royal Collection, United Kingdom.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: Explain the Provenance of this artwork, Studies of the Fetus in the Womb.

The studies were initially bequeathed to Francesco Melzi. In c. 1582–90 they were bought from his heirs by Pompeo Leoni and by 1630 they belonged to Thomas Howard, 2nd Earl of Arundel. Since 1690 the studies have been housed in the Royal Collection, United Kingdom.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: How does Studies of the Fetus in the Womb explain its Provenance?

The studies were initially bequeathed to Francesco Melzi. In c. 1582–90 they were bought from his heirs by Pompeo Leoni and by 1630 they belonged to Thomas Howard, 2nd Earl of Arundel. Since 1690 the studies have been housed in the Royal Collection, United Kingdom.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Studies of the Fetus in the Womb

Prompt: In Studies of the Fetus in the Womb, how is the Provenance discussed?

The studies were initially bequeathed to Francesco Melzi. In c. 1582–90 they were bought from his heirs by Pompeo Leoni and by 1630 they belonged to Thomas Howard, 2nd Earl of Arundel. Since 1690 the studies have been housed in the Royal Collection, United Kingdom.

Category:Prints and drawings in the Royal Collection of the United Kingdom


Prompt: Focus on Willem van Heythuysen Posing with a Sword and explain the abstract.

Willem van Heythuysen posing with a sword is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625-1630, and now in the Alte Pinakothek, in Munich. It shows the Haarlem cloth merchant Willem van Heythuysen in a theatrical pose with a rapier.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: Explain the abstract of this artwork, Willem van Heythuysen Posing with a Sword.

Willem van Heythuysen posing with a sword is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625-1630, and now in the Alte Pinakothek, in Munich. It shows the Haarlem cloth merchant Willem van Heythuysen in a theatrical pose with a rapier.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: How does Willem van Heythuysen Posing with a Sword explain its abstract?

Willem van Heythuysen posing with a sword is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625-1630, and now in the Alte Pinakothek, in Munich. It shows the Haarlem cloth merchant Willem van Heythuysen in a theatrical pose with a rapier.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: In Willem van Heythuysen Posing with a Sword, how is the abstract discussed?

Willem van Heythuysen posing with a sword is an oil-on-canvas painting by the Dutch Golden Age painter Frans Hals, painted in 1625-1630, and now in the Alte Pinakothek, in Munich. It shows the Haarlem cloth merchant Willem van Heythuysen in a theatrical pose with a rapier.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: Focus on Willem van Heythuysen Posing with a Sword and explain the Painting.

The painting shows a proud man standing in front of a neoclassical architectural element with drapery, leaning on a sword. In the distance a garden with a couple can be seen, and in the foreground some roses lie on the ground. It was first documented by Adriaan Loosjes, who mentioned it in his tribute to Hals in 1789 as being in the collection Gerrit Willem van Oosten de Bruyn. Much later Ernst Wilhelm Moes included it in his Iconographia Batavia, and Hofstede de Groot documented it again with the following description:WILLEM VAN HEYTHUYSEN. B. 123; M. 44. Full-length; life size. He stands with the left foot forward and the right drawn back. His figure is turned three-quarters left; his head almost faces the spectator, at whom he is looking. His left hand is pressed to his side; his right hand clasps the hilt of a sword with its point on the ground. He has a moustache and pointed beard. He wears a broad-brimmed hat, a white collar like a ruff trimmed with lace, and a very richly trimmed costume of dark blue with broad lace-trimmed cuffs. Behind him a lilac- brown drapery hangs on a fantastic piece of architecture; to the left is a view of a French garden; on the ground lie roses. Painted about 1635.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: Explain the Painting of this artwork, Willem van Heythuysen Posing with a Sword.

The painting shows a proud man standing in front of a neoclassical architectural element with drapery, leaning on a sword. In the distance a garden with a couple can be seen, and in the foreground some roses lie on the ground. It was first documented by Adriaan Loosjes, who mentioned it in his tribute to Hals in 1789 as being in the collection Gerrit Willem van Oosten de Bruyn. Much later Ernst Wilhelm Moes included it in his Iconographia Batavia, and Hofstede de Groot documented it again with the following description:WILLEM VAN HEYTHUYSEN. B. 123; M. 44. Full-length; life size. He stands with the left foot forward and the right drawn back. His figure is turned three-quarters left; his head almost faces the spectator, at whom he is looking. His left hand is pressed to his side; his right hand clasps the hilt of a sword with its point on the ground. He has a moustache and pointed beard. He wears a broad-brimmed hat, a white collar like a ruff trimmed with lace, and a very richly trimmed costume of dark blue with broad lace-trimmed cuffs. Behind him a lilac- brown drapery hangs on a fantastic piece of architecture; to the left is a view of a French garden; on the ground lie roses. Painted about 1635.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: How does Willem van Heythuysen Posing with a Sword explain its Painting?

The painting shows a proud man standing in front of a neoclassical architectural element with drapery, leaning on a sword. In the distance a garden with a couple can be seen, and in the foreground some roses lie on the ground. It was first documented by Adriaan Loosjes, who mentioned it in his tribute to Hals in 1789 as being in the collection Gerrit Willem van Oosten de Bruyn. Much later Ernst Wilhelm Moes included it in his Iconographia Batavia, and Hofstede de Groot documented it again with the following description:WILLEM VAN HEYTHUYSEN. B. 123; M. 44. Full-length; life size. He stands with the left foot forward and the right drawn back. His figure is turned three-quarters left; his head almost faces the spectator, at whom he is looking. His left hand is pressed to his side; his right hand clasps the hilt of a sword with its point on the ground. He has a moustache and pointed beard. He wears a broad-brimmed hat, a white collar like a ruff trimmed with lace, and a very richly trimmed costume of dark blue with broad lace-trimmed cuffs. Behind him a lilac- brown drapery hangs on a fantastic piece of architecture; to the left is a view of a French garden; on the ground lie roses. Painted about 1635.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: In Willem van Heythuysen Posing with a Sword, how is the Painting discussed?

The painting shows a proud man standing in front of a neoclassical architectural element with drapery, leaning on a sword. In the distance a garden with a couple can be seen, and in the foreground some roses lie on the ground. It was first documented by Adriaan Loosjes, who mentioned it in his tribute to Hals in 1789 as being in the collection Gerrit Willem van Oosten de Bruyn. Much later Ernst Wilhelm Moes included it in his Iconographia Batavia, and Hofstede de Groot documented it again with the following description:WILLEM VAN HEYTHUYSEN. B. 123; M. 44. Full-length; life size. He stands with the left foot forward and the right drawn back. His figure is turned three-quarters left; his head almost faces the spectator, at whom he is looking. His left hand is pressed to his side; his right hand clasps the hilt of a sword with its point on the ground. He has a moustache and pointed beard. He wears a broad-brimmed hat, a white collar like a ruff trimmed with lace, and a very richly trimmed costume of dark blue with broad lace-trimmed cuffs. Behind him a lilac- brown drapery hangs on a fantastic piece of architecture; to the left is a view of a French garden; on the ground lie roses. Painted about 1635.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg


Prompt: Focus on Willem van Heythuysen Posing with a Sword and explain the Legacy.

The painting served as inspiration to many, not just the poetry of Loosjes. Judith Leyster made a period copy, though she exchanged the rapier for a walking stick. Several people have posed in this stance in costume, most recently Kehinde Wiley who made a painting of a young black man in the same pose. In his 1989 catalog of the international Frans Hals exhibition Slive claimed it was previously incorrectly dated as 1635 but was actually painted 10 years earlier. The art historian Claus Grimm seemed to recognize that the drapery behind him looked similar to the iridescent dress of Hals' portrait of Aletta Hannemans, discussing these paintings after each other and placing them as painted in the same year. Possibly, as Heythuyzen was a cloth merchant, both were from workshops under his control and this portrait shows the source of his wealth as well as a romantic vision of himself as a bachelor. Because he is positioned facing left, we know that this is not a wedding pendant, as Hals always placed the woman on the right facing left. Heythuizen never married and died a bachelor.

Category:Collection of the Alte Pinakothek

File:Sir Edgar Vincent of Esher posing as a Frans Hals portrait of Willem van Heythuysen for Devonshire House Fancy Dress Ball 1897 page-84-copy.jpg

:Commons:Frans Hals catalog raisonné, 1989

:Commons:Frans Hals Exhibition catalog, 1989

File:Judith Leyster - Study of a standing man after the portrait of Willem van Heythuizen by Frans Hals.jpg