Tanagra (Gérôme sculpture)

Prompt: In Tanagra (Gérôme sculpture), how is the abstract discussed?

Tanagra is a polychromic marble sculpture created by French artist Jean-Léon Gérôme (1824–1904) as a personification of the "spirit of Tanagra," his own mythic invention tied to the Tanagra figurines from the village of that name in ancient Greece. The sculpture was first shown at the Paris Salon of 1890. Gérôme subsequently created smaller, gilded bronze versions of Tanagra; several versions of the "Hoop Dancer" figurine held by Tanagra; two paintings of an imaginary ancient Tanagra workshop; and two self-portraits of himself sculpting Tanagra from a living model in his Paris atelier. These sculptures and paintings comprise a complex, self-referential artistic program in which one of the most celebrated artists of his generation explored reception of Classical antiquity, creative inspiration, doppelgängers, and female beauty.Tanagra is displayed at the Musée d'Orsay. Much of the polychromy has faded, and the hoop dancer is damaged (part of the hoop and right arm are missing.)

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: Focus on Tanagra (Gérôme sculpture) and explain the The ancient Tanagra figurines.

In December 1870, at a site called Tanagra in Greece, archaeologists unearthed a group of Hellenistic terra cotta figurines bearing traces of original polychrome. The discovery caused a sensation, because it provided firm evidence supporting the theory that ancient sculpture was painted. The Tanagra figurines, which depicted not gods or heroes but ordinary people, were exhibited at the Exposition Universelle of 1878 in Paris, where they charmed and fascinated the public. In subsequent decades, countless forgeries flooded the art market. Tanagra figurines infiltrated popular literature and theater, as seen by references in Oscar Wilde's The Picture of Dorian Gray (1891) and An Ideal Husband (1895), and Marcel Proust's Swann's Way (1913).

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: Explain the The ancient Tanagra figurines of this artwork, Tanagra (Gérôme sculpture).

In December 1870, at a site called Tanagra in Greece, archaeologists unearthed a group of Hellenistic terra cotta figurines bearing traces of original polychrome. The discovery caused a sensation, because it provided firm evidence supporting the theory that ancient sculpture was painted. The Tanagra figurines, which depicted not gods or heroes but ordinary people, were exhibited at the Exposition Universelle of 1878 in Paris, where they charmed and fascinated the public. In subsequent decades, countless forgeries flooded the art market. Tanagra figurines infiltrated popular literature and theater, as seen by references in Oscar Wilde's The Picture of Dorian Gray (1891) and An Ideal Husband (1895), and Marcel Proust's Swann's Way (1913).

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: How does Tanagra (Gérôme sculpture) explain its The ancient Tanagra figurines?

In December 1870, at a site called Tanagra in Greece, archaeologists unearthed a group of Hellenistic terra cotta figurines bearing traces of original polychrome. The discovery caused a sensation, because it provided firm evidence supporting the theory that ancient sculpture was painted. The Tanagra figurines, which depicted not gods or heroes but ordinary people, were exhibited at the Exposition Universelle of 1878 in Paris, where they charmed and fascinated the public. In subsequent decades, countless forgeries flooded the art market. Tanagra figurines infiltrated popular literature and theater, as seen by references in Oscar Wilde's The Picture of Dorian Gray (1891) and An Ideal Husband (1895), and Marcel Proust's Swann's Way (1913).

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: In Tanagra (Gérôme sculpture), how is the The ancient Tanagra figurines discussed?

In December 1870, at a site called Tanagra in Greece, archaeologists unearthed a group of Hellenistic terra cotta figurines bearing traces of original polychrome. The discovery caused a sensation, because it provided firm evidence supporting the theory that ancient sculpture was painted. The Tanagra figurines, which depicted not gods or heroes but ordinary people, were exhibited at the Exposition Universelle of 1878 in Paris, where they charmed and fascinated the public. In subsequent decades, countless forgeries flooded the art market. Tanagra figurines infiltrated popular literature and theater, as seen by references in Oscar Wilde's The Picture of Dorian Gray (1891) and An Ideal Husband (1895), and Marcel Proust's Swann's Way (1913).

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: Focus on Tanagra (Gérôme sculpture) and explain the Gérôme's Tanagra.

As a painter and sculptor, Gérôme had long drawn inspiration from the Classical world. His famous images of gladiator combats, chariot races, slave markets, the assassination of Julius Caesar, and other subjects from ancient Greece and Rome were widely influential.In his mid-sixties, Gérôme expressed his fascination with the Tanagra figurines, and the ancients who made and owned them, with his 5-foot-high, tinted-marble Tanagra, a female nude personifying the Tyche, or presiding spirit, of the ancient city. Tanagra sits stiffly upright "atop an excavation mound. Numerous figurines have surfaced in the soil. At her feet lie the tools that allude to both the archaeological dig as well as Gérôme's role as sculptor." On the upraised palm of Tanagra’s hand is a figurine of a female Hoop Dancer (Gérôme's own invention, inspired by, but not a copy of, an actual Tanagra figurine). Thus Tanagra depicts a statue holding a statue. The larger statue sits rigidly posed while the smaller is a "twirling figure, who gracefully dips her head into a golden ring clutched in her right hand and cups a golden ball in the other, as her drapery swirls around her.""Inspired by his characteristic desire for both archaeological accuracy and realism, Gérôme delicately tinted the skin, hair, lips, and nipples of his Tanagra, causing a sensation at the Salon of 1890." A contemporary critic suggested that if the sculpture had been "secretly buried for a time, and then publicly excavated as an antique, perhaps with a broken arm, it would have turned the heads of the whole art world, and been declared in its vital characteristics and subtle anatomy a rival to the Milo Venus."

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: Explain the Gérôme's Tanagra of this artwork, Tanagra (Gérôme sculpture).

As a painter and sculptor, Gérôme had long drawn inspiration from the Classical world. His famous images of gladiator combats, chariot races, slave markets, the assassination of Julius Caesar, and other subjects from ancient Greece and Rome were widely influential.In his mid-sixties, Gérôme expressed his fascination with the Tanagra figurines, and the ancients who made and owned them, with his 5-foot-high, tinted-marble Tanagra, a female nude personifying the Tyche, or presiding spirit, of the ancient city. Tanagra sits stiffly upright "atop an excavation mound. Numerous figurines have surfaced in the soil. At her feet lie the tools that allude to both the archaeological dig as well as Gérôme's role as sculptor." On the upraised palm of Tanagra’s hand is a figurine of a female Hoop Dancer (Gérôme's own invention, inspired by, but not a copy of, an actual Tanagra figurine). Thus Tanagra depicts a statue holding a statue. The larger statue sits rigidly posed while the smaller is a "twirling figure, who gracefully dips her head into a golden ring clutched in her right hand and cups a golden ball in the other, as her drapery swirls around her.""Inspired by his characteristic desire for both archaeological accuracy and realism, Gérôme delicately tinted the skin, hair, lips, and nipples of his Tanagra, causing a sensation at the Salon of 1890." A contemporary critic suggested that if the sculpture had been "secretly buried for a time, and then publicly excavated as an antique, perhaps with a broken arm, it would have turned the heads of the whole art world, and been declared in its vital characteristics and subtle anatomy a rival to the Milo Venus."

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: How does Tanagra (Gérôme sculpture) explain its Gérôme's Tanagra?

As a painter and sculptor, Gérôme had long drawn inspiration from the Classical world. His famous images of gladiator combats, chariot races, slave markets, the assassination of Julius Caesar, and other subjects from ancient Greece and Rome were widely influential.In his mid-sixties, Gérôme expressed his fascination with the Tanagra figurines, and the ancients who made and owned them, with his 5-foot-high, tinted-marble Tanagra, a female nude personifying the Tyche, or presiding spirit, of the ancient city. Tanagra sits stiffly upright "atop an excavation mound. Numerous figurines have surfaced in the soil. At her feet lie the tools that allude to both the archaeological dig as well as Gérôme's role as sculptor." On the upraised palm of Tanagra’s hand is a figurine of a female Hoop Dancer (Gérôme's own invention, inspired by, but not a copy of, an actual Tanagra figurine). Thus Tanagra depicts a statue holding a statue. The larger statue sits rigidly posed while the smaller is a "twirling figure, who gracefully dips her head into a golden ring clutched in her right hand and cups a golden ball in the other, as her drapery swirls around her.""Inspired by his characteristic desire for both archaeological accuracy and realism, Gérôme delicately tinted the skin, hair, lips, and nipples of his Tanagra, causing a sensation at the Salon of 1890." A contemporary critic suggested that if the sculpture had been "secretly buried for a time, and then publicly excavated as an antique, perhaps with a broken arm, it would have turned the heads of the whole art world, and been declared in its vital characteristics and subtle anatomy a rival to the Milo Venus."

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: In Tanagra (Gérôme sculpture), how is the Gérôme's Tanagra discussed?

As a painter and sculptor, Gérôme had long drawn inspiration from the Classical world. His famous images of gladiator combats, chariot races, slave markets, the assassination of Julius Caesar, and other subjects from ancient Greece and Rome were widely influential.In his mid-sixties, Gérôme expressed his fascination with the Tanagra figurines, and the ancients who made and owned them, with his 5-foot-high, tinted-marble Tanagra, a female nude personifying the Tyche, or presiding spirit, of the ancient city. Tanagra sits stiffly upright "atop an excavation mound. Numerous figurines have surfaced in the soil. At her feet lie the tools that allude to both the archaeological dig as well as Gérôme's role as sculptor." On the upraised palm of Tanagra’s hand is a figurine of a female Hoop Dancer (Gérôme's own invention, inspired by, but not a copy of, an actual Tanagra figurine). Thus Tanagra depicts a statue holding a statue. The larger statue sits rigidly posed while the smaller is a "twirling figure, who gracefully dips her head into a golden ring clutched in her right hand and cups a golden ball in the other, as her drapery swirls around her.""Inspired by his characteristic desire for both archaeological accuracy and realism, Gérôme delicately tinted the skin, hair, lips, and nipples of his Tanagra, causing a sensation at the Salon of 1890." A contemporary critic suggested that if the sculpture had been "secretly buried for a time, and then publicly excavated as an antique, perhaps with a broken arm, it would have turned the heads of the whole art world, and been declared in its vital characteristics and subtle anatomy a rival to the Milo Venus."

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: Focus on Tanagra (Gérôme sculpture) and explain the Hoop Dancers and imaginary workshops.

Gerome would subsequently create and sell numerous copies of the Hoop Dancer figurine held by his Tanagra, making the Hoop Dancer the modern-day equivalent of a Tanagra figurine. "Here the artist is not so much breathing life into painted or sculpted flesh as reinventing for the modern age the mass-produced figurines of antiquity."In 1893, Gérôme created two paintings of imaginary Tanagra workshops. Although Gérôme opposed the admission of female art students to the École des Beaux-Arts, both of these paintings depict a female artist who is painting copies of Gérôme's Hoop Dancer figurine (a modern anachronism retrojected back in time). These Hoop Dancers are offered for sale, along with other figurines, to browsing art-lovers (all female) who themselves resemble Tanagra figurines. In one of these paintings a smaller version of Gérôme's Tanagra presides over the sales counter, holding a Hoop Dancer in her hand. This Tanagra is a painting of a statue holding a statue. Also in this painting, the young artisan is busy "colouring an edition of 12 Hoop Dancers in various brilliant hues—a tongue-in-cheek advertisement, perhaps, made to promote the figurines that he [Gérôme] was offering for sale in two different sizes and a variety of media through his dealer and father-in-law Adolphe Goupil. The Hoop Dancer would be Gérôme’s most popular and widely reproduced sculpture."

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: Explain the Hoop Dancers and imaginary workshops of this artwork, Tanagra (Gérôme sculpture).

Gerome would subsequently create and sell numerous copies of the Hoop Dancer figurine held by his Tanagra, making the Hoop Dancer the modern-day equivalent of a Tanagra figurine. "Here the artist is not so much breathing life into painted or sculpted flesh as reinventing for the modern age the mass-produced figurines of antiquity."In 1893, Gérôme created two paintings of imaginary Tanagra workshops. Although Gérôme opposed the admission of female art students to the École des Beaux-Arts, both of these paintings depict a female artist who is painting copies of Gérôme's Hoop Dancer figurine (a modern anachronism retrojected back in time). These Hoop Dancers are offered for sale, along with other figurines, to browsing art-lovers (all female) who themselves resemble Tanagra figurines. In one of these paintings a smaller version of Gérôme's Tanagra presides over the sales counter, holding a Hoop Dancer in her hand. This Tanagra is a painting of a statue holding a statue. Also in this painting, the young artisan is busy "colouring an edition of 12 Hoop Dancers in various brilliant hues—a tongue-in-cheek advertisement, perhaps, made to promote the figurines that he [Gérôme] was offering for sale in two different sizes and a variety of media through his dealer and father-in-law Adolphe Goupil. The Hoop Dancer would be Gérôme’s most popular and widely reproduced sculpture."

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: How does Tanagra (Gérôme sculpture) explain its Hoop Dancers and imaginary workshops?

Gerome would subsequently create and sell numerous copies of the Hoop Dancer figurine held by his Tanagra, making the Hoop Dancer the modern-day equivalent of a Tanagra figurine. "Here the artist is not so much breathing life into painted or sculpted flesh as reinventing for the modern age the mass-produced figurines of antiquity."In 1893, Gérôme created two paintings of imaginary Tanagra workshops. Although Gérôme opposed the admission of female art students to the École des Beaux-Arts, both of these paintings depict a female artist who is painting copies of Gérôme's Hoop Dancer figurine (a modern anachronism retrojected back in time). These Hoop Dancers are offered for sale, along with other figurines, to browsing art-lovers (all female) who themselves resemble Tanagra figurines. In one of these paintings a smaller version of Gérôme's Tanagra presides over the sales counter, holding a Hoop Dancer in her hand. This Tanagra is a painting of a statue holding a statue. Also in this painting, the young artisan is busy "colouring an edition of 12 Hoop Dancers in various brilliant hues—a tongue-in-cheek advertisement, perhaps, made to promote the figurines that he [Gérôme] was offering for sale in two different sizes and a variety of media through his dealer and father-in-law Adolphe Goupil. The Hoop Dancer would be Gérôme’s most popular and widely reproduced sculpture."

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: In Tanagra (Gérôme sculpture), how is the Hoop Dancers and imaginary workshops discussed?

Gerome would subsequently create and sell numerous copies of the Hoop Dancer figurine held by his Tanagra, making the Hoop Dancer the modern-day equivalent of a Tanagra figurine. "Here the artist is not so much breathing life into painted or sculpted flesh as reinventing for the modern age the mass-produced figurines of antiquity."In 1893, Gérôme created two paintings of imaginary Tanagra workshops. Although Gérôme opposed the admission of female art students to the École des Beaux-Arts, both of these paintings depict a female artist who is painting copies of Gérôme's Hoop Dancer figurine (a modern anachronism retrojected back in time). These Hoop Dancers are offered for sale, along with other figurines, to browsing art-lovers (all female) who themselves resemble Tanagra figurines. In one of these paintings a smaller version of Gérôme's Tanagra presides over the sales counter, holding a Hoop Dancer in her hand. This Tanagra is a painting of a statue holding a statue. Also in this painting, the young artisan is busy "colouring an edition of 12 Hoop Dancers in various brilliant hues—a tongue-in-cheek advertisement, perhaps, made to promote the figurines that he [Gérôme] was offering for sale in two different sizes and a variety of media through his dealer and father-in-law Adolphe Goupil. The Hoop Dancer would be Gérôme’s most popular and widely reproduced sculpture."

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: Focus on Tanagra (Gérôme sculpture) and explain the Gérôme paints himself sculpting Tanagra, twice.

In 1894 and 1890, Gérôme painted two versions of a self-portrait depicting the artist at work in his atelier: The Artist and His Model-Emma Dupont (now at the Haggin Museum) and Working in Marble (Dahesh Museum of Art). The self-portraits are very similar, but differ in at least one significant respect.In these self-portraits Gérôme is seen sculpting Tanagra from a live model, Emma Dupont, who holds the seated, stiffly upright pose, though her upturned palm is empty. Behind the model on its own stand is a large polychrome Hoop Dancer statuette of the sort Gérôme made for sale to the public. Various props litter the studio. In each painting, hanging on the wall in the background, is a painting by Gérôme of Pygmalion and Galatea, another of his works inspired by the ancient world (and made the same year as Tanagra). The self-portraits depict a real sculptor (Gérôme) bringing life to a statue by copying a living woman; the Pygmalion paintings depict a mythical sculptor whose statue is becoming a living woman.The doppelgängers and visual puns are complex, because the Pygmalion paintings in the two backgrounds are similar but not identical. Just as Gérôme painted two self-portraits, he also painted more than one version of Pygmalion and Galatea. The most famous, now in the Metropolitan Museum of Art, shows the kissing sculptor and statue from behind; it appears in the background of The Artist and His Model. But Gérôme painted at least one variant (now in a private collection), in which Pygmalion and Galatea are seen kissing from the front. This version appears in Working in Marble.In both self-portraits, a variant of Pygmalion and Galatea is depicted as a painting of a mythical sculptor and living statue within a painting of a real sculptor, a living model, and (despite appearances) a plaster (not marble) statue.Like most 19th-century sculptors, Gérôme did not carve the marble himself but furnished professional marble cutters with a full-size plaster to use as a guide. It is this intermediate step that is depicted in Working in Marble, a title that refers to the overall creative process. Gérôme portrays himself on a turn stand putting the finishing touches on the plaster version of Tanagra, carefully judging the accuracy of his work against the live model.This complex self-portrait is "a summation of Gérôme’s remarkable career as both painter and sculptor." As in all his works connected to Tanagra, we see Gérôme "powerfully evoking the continuous interplay between painting and sculpture, reality and artifice, as well as highlighting the inherently theatrical nature of the artist’s studio."The Haggin Museum also has a bronze Hoop Dancer by Gérôme, displayed beside The Artist and His Model.The original Tanagra resides at the Musée d'Orsay (fiche oeuvre 15298). A 29.5-inch-high, gilded bronze version of Tanagra by Gérôme is held by the Phoenix Art Museum (object 1986.54), which also has a gilded bronze Hoop Dancer (object 2000.12). More gilded bronze versions of Tanagra exist; one was auctioned in 2011 by Sotheby's for 150,000 GBP, another in 2017 by  for $50,000.

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: Explain the Gérôme paints himself sculpting Tanagra, twice of this artwork, Tanagra (Gérôme sculpture).

In 1894 and 1890, Gérôme painted two versions of a self-portrait depicting the artist at work in his atelier: The Artist and His Model-Emma Dupont (now at the Haggin Museum) and Working in Marble (Dahesh Museum of Art). The self-portraits are very similar, but differ in at least one significant respect.In these self-portraits Gérôme is seen sculpting Tanagra from a live model, Emma Dupont, who holds the seated, stiffly upright pose, though her upturned palm is empty. Behind the model on its own stand is a large polychrome Hoop Dancer statuette of the sort Gérôme made for sale to the public. Various props litter the studio. In each painting, hanging on the wall in the background, is a painting by Gérôme of Pygmalion and Galatea, another of his works inspired by the ancient world (and made the same year as Tanagra). The self-portraits depict a real sculptor (Gérôme) bringing life to a statue by copying a living woman; the Pygmalion paintings depict a mythical sculptor whose statue is becoming a living woman.The doppelgängers and visual puns are complex, because the Pygmalion paintings in the two backgrounds are similar but not identical. Just as Gérôme painted two self-portraits, he also painted more than one version of Pygmalion and Galatea. The most famous, now in the Metropolitan Museum of Art, shows the kissing sculptor and statue from behind; it appears in the background of The Artist and His Model. But Gérôme painted at least one variant (now in a private collection), in which Pygmalion and Galatea are seen kissing from the front. This version appears in Working in Marble.In both self-portraits, a variant of Pygmalion and Galatea is depicted as a painting of a mythical sculptor and living statue within a painting of a real sculptor, a living model, and (despite appearances) a plaster (not marble) statue.Like most 19th-century sculptors, Gérôme did not carve the marble himself but furnished professional marble cutters with a full-size plaster to use as a guide. It is this intermediate step that is depicted in Working in Marble, a title that refers to the overall creative process. Gérôme portrays himself on a turn stand putting the finishing touches on the plaster version of Tanagra, carefully judging the accuracy of his work against the live model.This complex self-portrait is "a summation of Gérôme’s remarkable career as both painter and sculptor." As in all his works connected to Tanagra, we see Gérôme "powerfully evoking the continuous interplay between painting and sculpture, reality and artifice, as well as highlighting the inherently theatrical nature of the artist’s studio."The Haggin Museum also has a bronze Hoop Dancer by Gérôme, displayed beside The Artist and His Model.The original Tanagra resides at the Musée d'Orsay (fiche oeuvre 15298). A 29.5-inch-high, gilded bronze version of Tanagra by Gérôme is held by the Phoenix Art Museum (object 1986.54), which also has a gilded bronze Hoop Dancer (object 2000.12). More gilded bronze versions of Tanagra exist; one was auctioned in 2011 by Sotheby's for 150,000 GBP, another in 2017 by  for $50,000.

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: How does Tanagra (Gérôme sculpture) explain its Gérôme paints himself sculpting Tanagra, twice?

In 1894 and 1890, Gérôme painted two versions of a self-portrait depicting the artist at work in his atelier: The Artist and His Model-Emma Dupont (now at the Haggin Museum) and Working in Marble (Dahesh Museum of Art). The self-portraits are very similar, but differ in at least one significant respect.In these self-portraits Gérôme is seen sculpting Tanagra from a live model, Emma Dupont, who holds the seated, stiffly upright pose, though her upturned palm is empty. Behind the model on its own stand is a large polychrome Hoop Dancer statuette of the sort Gérôme made for sale to the public. Various props litter the studio. In each painting, hanging on the wall in the background, is a painting by Gérôme of Pygmalion and Galatea, another of his works inspired by the ancient world (and made the same year as Tanagra). The self-portraits depict a real sculptor (Gérôme) bringing life to a statue by copying a living woman; the Pygmalion paintings depict a mythical sculptor whose statue is becoming a living woman.The doppelgängers and visual puns are complex, because the Pygmalion paintings in the two backgrounds are similar but not identical. Just as Gérôme painted two self-portraits, he also painted more than one version of Pygmalion and Galatea. The most famous, now in the Metropolitan Museum of Art, shows the kissing sculptor and statue from behind; it appears in the background of The Artist and His Model. But Gérôme painted at least one variant (now in a private collection), in which Pygmalion and Galatea are seen kissing from the front. This version appears in Working in Marble.In both self-portraits, a variant of Pygmalion and Galatea is depicted as a painting of a mythical sculptor and living statue within a painting of a real sculptor, a living model, and (despite appearances) a plaster (not marble) statue.Like most 19th-century sculptors, Gérôme did not carve the marble himself but furnished professional marble cutters with a full-size plaster to use as a guide. It is this intermediate step that is depicted in Working in Marble, a title that refers to the overall creative process. Gérôme portrays himself on a turn stand putting the finishing touches on the plaster version of Tanagra, carefully judging the accuracy of his work against the live model.This complex self-portrait is "a summation of Gérôme’s remarkable career as both painter and sculptor." As in all his works connected to Tanagra, we see Gérôme "powerfully evoking the continuous interplay between painting and sculpture, reality and artifice, as well as highlighting the inherently theatrical nature of the artist’s studio."The Haggin Museum also has a bronze Hoop Dancer by Gérôme, displayed beside The Artist and His Model.The original Tanagra resides at the Musée d'Orsay (fiche oeuvre 15298). A 29.5-inch-high, gilded bronze version of Tanagra by Gérôme is held by the Phoenix Art Museum (object 1986.54), which also has a gilded bronze Hoop Dancer (object 2000.12). More gilded bronze versions of Tanagra exist; one was auctioned in 2011 by Sotheby's for 150,000 GBP, another in 2017 by  for $50,000.

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: In Tanagra (Gérôme sculpture), how is the Gérôme paints himself sculpting Tanagra, twice discussed?

In 1894 and 1890, Gérôme painted two versions of a self-portrait depicting the artist at work in his atelier: The Artist and His Model-Emma Dupont (now at the Haggin Museum) and Working in Marble (Dahesh Museum of Art). The self-portraits are very similar, but differ in at least one significant respect.In these self-portraits Gérôme is seen sculpting Tanagra from a live model, Emma Dupont, who holds the seated, stiffly upright pose, though her upturned palm is empty. Behind the model on its own stand is a large polychrome Hoop Dancer statuette of the sort Gérôme made for sale to the public. Various props litter the studio. In each painting, hanging on the wall in the background, is a painting by Gérôme of Pygmalion and Galatea, another of his works inspired by the ancient world (and made the same year as Tanagra). The self-portraits depict a real sculptor (Gérôme) bringing life to a statue by copying a living woman; the Pygmalion paintings depict a mythical sculptor whose statue is becoming a living woman.The doppelgängers and visual puns are complex, because the Pygmalion paintings in the two backgrounds are similar but not identical. Just as Gérôme painted two self-portraits, he also painted more than one version of Pygmalion and Galatea. The most famous, now in the Metropolitan Museum of Art, shows the kissing sculptor and statue from behind; it appears in the background of The Artist and His Model. But Gérôme painted at least one variant (now in a private collection), in which Pygmalion and Galatea are seen kissing from the front. This version appears in Working in Marble.In both self-portraits, a variant of Pygmalion and Galatea is depicted as a painting of a mythical sculptor and living statue within a painting of a real sculptor, a living model, and (despite appearances) a plaster (not marble) statue.Like most 19th-century sculptors, Gérôme did not carve the marble himself but furnished professional marble cutters with a full-size plaster to use as a guide. It is this intermediate step that is depicted in Working in Marble, a title that refers to the overall creative process. Gérôme portrays himself on a turn stand putting the finishing touches on the plaster version of Tanagra, carefully judging the accuracy of his work against the live model.This complex self-portrait is "a summation of Gérôme’s remarkable career as both painter and sculptor." As in all his works connected to Tanagra, we see Gérôme "powerfully evoking the continuous interplay between painting and sculpture, reality and artifice, as well as highlighting the inherently theatrical nature of the artist’s studio."The Haggin Museum also has a bronze Hoop Dancer by Gérôme, displayed beside The Artist and His Model.The original Tanagra resides at the Musée d'Orsay (fiche oeuvre 15298). A 29.5-inch-high, gilded bronze version of Tanagra by Gérôme is held by the Phoenix Art Museum (object 1986.54), which also has a gilded bronze Hoop Dancer (object 2000.12). More gilded bronze versions of Tanagra exist; one was auctioned in 2011 by Sotheby's for 150,000 GBP, another in 2017 by  for $50,000.

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Colonna Madonna

Prompt: Focus on Colonna Madonna and explain the abstract.

The Madonna Colonna is an oil on poplar painting by the Italian Renaissance artist Raphael. It was painted c. 1507–1508, near the end of Raphael's Florentine period.This painting is part of the collection of the Gemäldegalerie, Berlin, and should not be confused with the Colonna Altarpiece by the same artist, which is at the Metropolitan Museum of Art in New York.

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael

Madonna and Child Enthroned with Saints (Raphael)


Colonna Madonna

Prompt: Explain the abstract of this artwork, Colonna Madonna.

The Madonna Colonna is an oil on poplar painting by the Italian Renaissance artist Raphael. It was painted c. 1507–1508, near the end of Raphael's Florentine period.This painting is part of the collection of the Gemäldegalerie, Berlin, and should not be confused with the Colonna Altarpiece by the same artist, which is at the Metropolitan Museum of Art in New York.

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael

Madonna and Child Enthroned with Saints (Raphael)


Colonna Madonna

Prompt: How does Colonna Madonna explain its abstract?

The Madonna Colonna is an oil on poplar painting by the Italian Renaissance artist Raphael. It was painted c. 1507–1508, near the end of Raphael's Florentine period.This painting is part of the collection of the Gemäldegalerie, Berlin, and should not be confused with the Colonna Altarpiece by the same artist, which is at the Metropolitan Museum of Art in New York.

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael

Madonna and Child Enthroned with Saints (Raphael)


Colonna Madonna

Prompt: In Colonna Madonna, how is the abstract discussed?

The Madonna Colonna is an oil on poplar painting by the Italian Renaissance artist Raphael. It was painted c. 1507–1508, near the end of Raphael's Florentine period.This painting is part of the collection of the Gemäldegalerie, Berlin, and should not be confused with the Colonna Altarpiece by the same artist, which is at the Metropolitan Museum of Art in New York.

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael

Madonna and Child Enthroned with Saints (Raphael)


Dämmernde Stadt

Prompt: Focus on Dämmernde Stadt and explain the abstract.

Dämmernde Stadt (City in Twilight) is an oil painting by Egon Schiele, a townscape of Krumau (today: Český Krumlov), completed in 1913. It also known as Die kleine Stadt II (The small town). It was owned until 1930 by Elsa Koditschek, a Jew who survived the Holocaust hidden in Vienna. The painting was taken from her during the Nazi regime. It was auctioned in 1950 at the Dorotheum in Vienna, and bought by a private collector. In 2018, it was auctioned in New York in an act of voluntary restitution, and the proceeds were shared by the descendants of both owners.

Category:Paintings by Egon Schiele
File:Egon Schiele 035.jpg
restitution
Elsa Koditschek
Viktor Fogarassy
Sotheby
Category:1913 paintings
Nude (art)
Nazi regime
Austro-Hungarian krone
''Kleine Stadt II'', das Gegenstück
Krumau
thumb
Category:Landscape paintings
Wally Neuzil
Nazi Germany
kronen
Cityscape
Der Standard
Egon Schiele
nude
The New York Times
townscape
Dorotheum
Category:Český Krumlov
Sotheby's
Český Krumlov
Category:Cities in art


Dämmernde Stadt

Prompt: Explain the abstract of this artwork, Dämmernde Stadt.

Dämmernde Stadt (City in Twilight) is an oil painting by Egon Schiele, a townscape of Krumau (today: Český Krumlov), completed in 1913. It also known as Die kleine Stadt II (The small town). It was owned until 1930 by Elsa Koditschek, a Jew who survived the Holocaust hidden in Vienna. The painting was taken from her during the Nazi regime. It was auctioned in 1950 at the Dorotheum in Vienna, and bought by a private collector. In 2018, it was auctioned in New York in an act of voluntary restitution, and the proceeds were shared by the descendants of both owners.

Category:Paintings by Egon Schiele
File:Egon Schiele 035.jpg
restitution
Elsa Koditschek
Viktor Fogarassy
Sotheby
Category:1913 paintings
Nude (art)
Nazi regime
Austro-Hungarian krone
''Kleine Stadt II'', das Gegenstück
Krumau
thumb
Category:Landscape paintings
Wally Neuzil
Nazi Germany
kronen
Cityscape
Der Standard
Egon Schiele
nude
The New York Times
townscape
Dorotheum
Category:Český Krumlov
Sotheby's
Český Krumlov
Category:Cities in art


Dämmernde Stadt

Prompt: How does Dämmernde Stadt explain its abstract?

Dämmernde Stadt (City in Twilight) is an oil painting by Egon Schiele, a townscape of Krumau (today: Český Krumlov), completed in 1913. It also known as Die kleine Stadt II (The small town). It was owned until 1930 by Elsa Koditschek, a Jew who survived the Holocaust hidden in Vienna. The painting was taken from her during the Nazi regime. It was auctioned in 1950 at the Dorotheum in Vienna, and bought by a private collector. In 2018, it was auctioned in New York in an act of voluntary restitution, and the proceeds were shared by the descendants of both owners.

Category:Paintings by Egon Schiele
File:Egon Schiele 035.jpg
restitution
Elsa Koditschek
Viktor Fogarassy
Sotheby
Category:1913 paintings
Nude (art)
Nazi regime
Austro-Hungarian krone
''Kleine Stadt II'', das Gegenstück
Krumau
thumb
Category:Landscape paintings
Wally Neuzil
Nazi Germany
kronen
Cityscape
Der Standard
Egon Schiele
nude
The New York Times
townscape
Dorotheum
Category:Český Krumlov
Sotheby's
Český Krumlov
Category:Cities in art


Dämmernde Stadt

Prompt: In Dämmernde Stadt, how is the abstract discussed?

Dämmernde Stadt (City in Twilight) is an oil painting by Egon Schiele, a townscape of Krumau (today: Český Krumlov), completed in 1913. It also known as Die kleine Stadt II (The small town). It was owned until 1930 by Elsa Koditschek, a Jew who survived the Holocaust hidden in Vienna. The painting was taken from her during the Nazi regime. It was auctioned in 1950 at the Dorotheum in Vienna, and bought by a private collector. In 2018, it was auctioned in New York in an act of voluntary restitution, and the proceeds were shared by the descendants of both owners.

Category:Paintings by Egon Schiele
File:Egon Schiele 035.jpg
restitution
Elsa Koditschek
Viktor Fogarassy
Sotheby
Category:1913 paintings
Nude (art)
Nazi regime
Austro-Hungarian krone
''Kleine Stadt II'', das Gegenstück
Krumau
thumb
Category:Landscape paintings
Wally Neuzil
Nazi Germany
kronen
Cityscape
Der Standard
Egon Schiele
nude
The New York Times
townscape
Dorotheum
Category:Český Krumlov
Sotheby's
Český Krumlov
Category:Cities in art


Dämmernde Stadt

Prompt: Focus on Dämmernde Stadt and explain the History.

Townscapes formed a large part of Schiele's work, who is known for nudes and self-portraits. He made them especially during his time in Krumau (today: Český Krumlov), where his mother Marie was born. The picturesque historic town (Altstadt) on both banks of the Vltava River now a UNESCO world heritage site. Schiele lived there with his muse and later partner Wally Neuzil in May to December 1910, and in May and June 1911. He had to leave because of his relationship to Wally, and due to reports about painting young nude models. He returned for short visits, then staying in guest houses. He completed, signed and dated Dämmernde Stadt in 1913. It is also known as Die kleine Stadt II and Die kleine Stadt III. The painting was shown at exhibitions the same year, in Budapest in March, and at two exhibitions in Munich.Hubert Jung from Vienna bought Dämmernde Stadt in 1913 for 400 kronen, possibly in connection to the Budapest exhibition, together with Die kleine Stadt III for the same price. Elsa Koditschek, a Jewish widow in Vienna, owned the painting from 1928. It was taken from her during the Nazi regime. She survived the Holocaust hidden in Vienna. The painting was auctioned in 1950 at the Dorotheum in Vienna, and was bought by the private art collector Viktor Fogarassy in good faith.In 2018, in a voluntary act of private restitution, it was auctioned by Sotheby's, with the proceeds to be shared by the descendants of both owners. It was first presented in London, and then auctioned in New York, selling for US$24.57 million (€21.81 million) against an estimate of $18 million.

Category:Paintings by Egon Schiele
File:Egon Schiele 035.jpg
restitution
Elsa Koditschek
Viktor Fogarassy
Sotheby
Category:1913 paintings
Nude (art)
Nazi regime
Austro-Hungarian krone
''Kleine Stadt II'', das Gegenstück
Krumau
thumb
Category:Landscape paintings
Wally Neuzil
Nazi Germany
kronen
Cityscape
Der Standard
Egon Schiele
nude
The New York Times
townscape
Dorotheum
Category:Český Krumlov
Sotheby's
Český Krumlov
Category:Cities in art


Dämmernde Stadt

Prompt: Explain the History of this artwork, Dämmernde Stadt.

Townscapes formed a large part of Schiele's work, who is known for nudes and self-portraits. He made them especially during his time in Krumau (today: Český Krumlov), where his mother Marie was born. The picturesque historic town (Altstadt) on both banks of the Vltava River now a UNESCO world heritage site. Schiele lived there with his muse and later partner Wally Neuzil in May to December 1910, and in May and June 1911. He had to leave because of his relationship to Wally, and due to reports about painting young nude models. He returned for short visits, then staying in guest houses. He completed, signed and dated Dämmernde Stadt in 1913. It is also known as Die kleine Stadt II and Die kleine Stadt III. The painting was shown at exhibitions the same year, in Budapest in March, and at two exhibitions in Munich.Hubert Jung from Vienna bought Dämmernde Stadt in 1913 for 400 kronen, possibly in connection to the Budapest exhibition, together with Die kleine Stadt III for the same price. Elsa Koditschek, a Jewish widow in Vienna, owned the painting from 1928. It was taken from her during the Nazi regime. She survived the Holocaust hidden in Vienna. The painting was auctioned in 1950 at the Dorotheum in Vienna, and was bought by the private art collector Viktor Fogarassy in good faith.In 2018, in a voluntary act of private restitution, it was auctioned by Sotheby's, with the proceeds to be shared by the descendants of both owners. It was first presented in London, and then auctioned in New York, selling for US$24.57 million (€21.81 million) against an estimate of $18 million.

Category:Paintings by Egon Schiele
File:Egon Schiele 035.jpg
restitution
Elsa Koditschek
Viktor Fogarassy
Sotheby
Category:1913 paintings
Nude (art)
Nazi regime
Austro-Hungarian krone
''Kleine Stadt II'', das Gegenstück
Krumau
thumb
Category:Landscape paintings
Wally Neuzil
Nazi Germany
kronen
Cityscape
Der Standard
Egon Schiele
nude
The New York Times
townscape
Dorotheum
Category:Český Krumlov
Sotheby's
Český Krumlov
Category:Cities in art


Dämmernde Stadt

Prompt: How does Dämmernde Stadt explain its History?

Townscapes formed a large part of Schiele's work, who is known for nudes and self-portraits. He made them especially during his time in Krumau (today: Český Krumlov), where his mother Marie was born. The picturesque historic town (Altstadt) on both banks of the Vltava River now a UNESCO world heritage site. Schiele lived there with his muse and later partner Wally Neuzil in May to December 1910, and in May and June 1911. He had to leave because of his relationship to Wally, and due to reports about painting young nude models. He returned for short visits, then staying in guest houses. He completed, signed and dated Dämmernde Stadt in 1913. It is also known as Die kleine Stadt II and Die kleine Stadt III. The painting was shown at exhibitions the same year, in Budapest in March, and at two exhibitions in Munich.Hubert Jung from Vienna bought Dämmernde Stadt in 1913 for 400 kronen, possibly in connection to the Budapest exhibition, together with Die kleine Stadt III for the same price. Elsa Koditschek, a Jewish widow in Vienna, owned the painting from 1928. It was taken from her during the Nazi regime. She survived the Holocaust hidden in Vienna. The painting was auctioned in 1950 at the Dorotheum in Vienna, and was bought by the private art collector Viktor Fogarassy in good faith.In 2018, in a voluntary act of private restitution, it was auctioned by Sotheby's, with the proceeds to be shared by the descendants of both owners. It was first presented in London, and then auctioned in New York, selling for US$24.57 million (€21.81 million) against an estimate of $18 million.

Category:Paintings by Egon Schiele
File:Egon Schiele 035.jpg
restitution
Elsa Koditschek
Viktor Fogarassy
Sotheby
Category:1913 paintings
Nude (art)
Nazi regime
Austro-Hungarian krone
''Kleine Stadt II'', das Gegenstück
Krumau
thumb
Category:Landscape paintings
Wally Neuzil
Nazi Germany
kronen
Cityscape
Der Standard
Egon Schiele
nude
The New York Times
townscape
Dorotheum
Category:Český Krumlov
Sotheby's
Český Krumlov
Category:Cities in art


Dämmernde Stadt

Prompt: In Dämmernde Stadt, how is the History discussed?

Townscapes formed a large part of Schiele's work, who is known for nudes and self-portraits. He made them especially during his time in Krumau (today: Český Krumlov), where his mother Marie was born. The picturesque historic town (Altstadt) on both banks of the Vltava River now a UNESCO world heritage site. Schiele lived there with his muse and later partner Wally Neuzil in May to December 1910, and in May and June 1911. He had to leave because of his relationship to Wally, and due to reports about painting young nude models. He returned for short visits, then staying in guest houses. He completed, signed and dated Dämmernde Stadt in 1913. It is also known as Die kleine Stadt II and Die kleine Stadt III. The painting was shown at exhibitions the same year, in Budapest in March, and at two exhibitions in Munich.Hubert Jung from Vienna bought Dämmernde Stadt in 1913 for 400 kronen, possibly in connection to the Budapest exhibition, together with Die kleine Stadt III for the same price. Elsa Koditschek, a Jewish widow in Vienna, owned the painting from 1928. It was taken from her during the Nazi regime. She survived the Holocaust hidden in Vienna. The painting was auctioned in 1950 at the Dorotheum in Vienna, and was bought by the private art collector Viktor Fogarassy in good faith.In 2018, in a voluntary act of private restitution, it was auctioned by Sotheby's, with the proceeds to be shared by the descendants of both owners. It was first presented in London, and then auctioned in New York, selling for US$24.57 million (€21.81 million) against an estimate of $18 million.

Category:Paintings by Egon Schiele
File:Egon Schiele 035.jpg
restitution
Elsa Koditschek
Viktor Fogarassy
Sotheby
Category:1913 paintings
Nude (art)
Nazi regime
Austro-Hungarian krone
''Kleine Stadt II'', das Gegenstück
Krumau
thumb
Category:Landscape paintings
Wally Neuzil
Nazi Germany
kronen
Cityscape
Der Standard
Egon Schiele
nude
The New York Times
townscape
Dorotheum
Category:Český Krumlov
Sotheby's
Český Krumlov
Category:Cities in art


Another World (M. C. Escher)

Prompt: Focus on Another World (M. C. Escher) and explain the abstract.

Another World II, also known as Other World II, is a woodcut print by the Dutch artist M. C. Escher first printed in January 1947.It depicts a cubic architectural structure made from brick. The structure is a paradox with an open archway on each of the five visible sides of the cube. The structure wraps around the vertical axis to enclose the viewer's perspective. At the bottom of the image is an archway from which we seem to be looking up from the base, and through it we can see space. At the top of that arch is another arch which is level with our perspective, and through it we are looking out over a lunar horizon. At the top of that arch is another arch which covers the top of the image. We are looking down at this arch from above and through it onto the lunar surface.Standing in each archway along the vertical axis is a metal sculpture of a bird with a humanoid face. In each side archway is a horn or cornucopia hanging on chains. The views from above and below are consistent, placing the statue so that it faces the horn; however, the horizontal view reverses the relative positions of the statue and the horn, and rotates the horn 180 degrees.The three "birds" and three windows with horns hanging in them are not symmetrically arrayed as they might be if they depicted three mutually orthogonal vertical orientations. As is, the open wall we are looking through opens into a space with three different vertical orientations, but two of them are opposites of each other. Presumably, behind the picture's overall point of view, the same landscape continues behind the viewer in the same orientation as we see it through the window opposite. Of course, from the point of view of the bird at the bottom, we are looking up from the floor and from the point of view of the bird at the top we are looking down through an open roof. Note that this asymmetry requires a further asymmetry to account for the fact that our point of view is not obviously that of another bird. In one wall two windows and horns with opposite vertical orientation share the same wall. In the wall opposite, there is only one window with a horn, which shares the verticality of the overall picture and of the bird opposite. Thus, if the point of view of the drawing is that of another bird, there are four birds and three horns, with one of them being shared between two birds with the same vertical orientation. In order to portray three mutually orthogonal verticalities from the point of view of a third bird, the bird opposite that would have to be rotated 90 degrees, and the window adjacent to the viewer show the naturally oriented landscape behind the hanging horn. The previous month (December 1946), Escher created a mezzotint called Another World (Other World Gallery). The image in that print is the same as this one except that the arches continue on as an infinite corridor.The bird/human sculpture is a real sculpture which was given to Escher by his father-in-law. This sculpture first appears in Escher's 1934 lithograph Still Life with Spherical Mirror.The picture is featured in the cover of the 1965 edition of Italo Calvino's Cosmicomics.

print
Italo Calvino
Category:1947 paintings
Cosmicomics
Printmaking
woodcut
Lithography
Harry N. Abrams, Inc.
Category:Works by M. C. Escher
mezzotint
M. C. Escher
Abrams Books
Category:Woodcuts
Netherlands
paradox
Dutch
lithograph
Still Life with Spherical Mirror


Another World (M. C. Escher)

Prompt: Explain the abstract of this artwork, Another World (M. C. Escher).

Another World II, also known as Other World II, is a woodcut print by the Dutch artist M. C. Escher first printed in January 1947.It depicts a cubic architectural structure made from brick. The structure is a paradox with an open archway on each of the five visible sides of the cube. The structure wraps around the vertical axis to enclose the viewer's perspective. At the bottom of the image is an archway from which we seem to be looking up from the base, and through it we can see space. At the top of that arch is another arch which is level with our perspective, and through it we are looking out over a lunar horizon. At the top of that arch is another arch which covers the top of the image. We are looking down at this arch from above and through it onto the lunar surface.Standing in each archway along the vertical axis is a metal sculpture of a bird with a humanoid face. In each side archway is a horn or cornucopia hanging on chains. The views from above and below are consistent, placing the statue so that it faces the horn; however, the horizontal view reverses the relative positions of the statue and the horn, and rotates the horn 180 degrees.The three "birds" and three windows with horns hanging in them are not symmetrically arrayed as they might be if they depicted three mutually orthogonal vertical orientations. As is, the open wall we are looking through opens into a space with three different vertical orientations, but two of them are opposites of each other. Presumably, behind the picture's overall point of view, the same landscape continues behind the viewer in the same orientation as we see it through the window opposite. Of course, from the point of view of the bird at the bottom, we are looking up from the floor and from the point of view of the bird at the top we are looking down through an open roof. Note that this asymmetry requires a further asymmetry to account for the fact that our point of view is not obviously that of another bird. In one wall two windows and horns with opposite vertical orientation share the same wall. In the wall opposite, there is only one window with a horn, which shares the verticality of the overall picture and of the bird opposite. Thus, if the point of view of the drawing is that of another bird, there are four birds and three horns, with one of them being shared between two birds with the same vertical orientation. In order to portray three mutually orthogonal verticalities from the point of view of a third bird, the bird opposite that would have to be rotated 90 degrees, and the window adjacent to the viewer show the naturally oriented landscape behind the hanging horn. The previous month (December 1946), Escher created a mezzotint called Another World (Other World Gallery). The image in that print is the same as this one except that the arches continue on as an infinite corridor.The bird/human sculpture is a real sculpture which was given to Escher by his father-in-law. This sculpture first appears in Escher's 1934 lithograph Still Life with Spherical Mirror.The picture is featured in the cover of the 1965 edition of Italo Calvino's Cosmicomics.

print
Italo Calvino
Category:1947 paintings
Cosmicomics
Printmaking
woodcut
Lithography
Harry N. Abrams, Inc.
Category:Works by M. C. Escher
mezzotint
M. C. Escher
Abrams Books
Category:Woodcuts
Netherlands
paradox
Dutch
lithograph
Still Life with Spherical Mirror


Another World (M. C. Escher)

Prompt: How does Another World (M. C. Escher) explain its abstract?

Another World II, also known as Other World II, is a woodcut print by the Dutch artist M. C. Escher first printed in January 1947.It depicts a cubic architectural structure made from brick. The structure is a paradox with an open archway on each of the five visible sides of the cube. The structure wraps around the vertical axis to enclose the viewer's perspective. At the bottom of the image is an archway from which we seem to be looking up from the base, and through it we can see space. At the top of that arch is another arch which is level with our perspective, and through it we are looking out over a lunar horizon. At the top of that arch is another arch which covers the top of the image. We are looking down at this arch from above and through it onto the lunar surface.Standing in each archway along the vertical axis is a metal sculpture of a bird with a humanoid face. In each side archway is a horn or cornucopia hanging on chains. The views from above and below are consistent, placing the statue so that it faces the horn; however, the horizontal view reverses the relative positions of the statue and the horn, and rotates the horn 180 degrees.The three "birds" and three windows with horns hanging in them are not symmetrically arrayed as they might be if they depicted three mutually orthogonal vertical orientations. As is, the open wall we are looking through opens into a space with three different vertical orientations, but two of them are opposites of each other. Presumably, behind the picture's overall point of view, the same landscape continues behind the viewer in the same orientation as we see it through the window opposite. Of course, from the point of view of the bird at the bottom, we are looking up from the floor and from the point of view of the bird at the top we are looking down through an open roof. Note that this asymmetry requires a further asymmetry to account for the fact that our point of view is not obviously that of another bird. In one wall two windows and horns with opposite vertical orientation share the same wall. In the wall opposite, there is only one window with a horn, which shares the verticality of the overall picture and of the bird opposite. Thus, if the point of view of the drawing is that of another bird, there are four birds and three horns, with one of them being shared between two birds with the same vertical orientation. In order to portray three mutually orthogonal verticalities from the point of view of a third bird, the bird opposite that would have to be rotated 90 degrees, and the window adjacent to the viewer show the naturally oriented landscape behind the hanging horn. The previous month (December 1946), Escher created a mezzotint called Another World (Other World Gallery). The image in that print is the same as this one except that the arches continue on as an infinite corridor.The bird/human sculpture is a real sculpture which was given to Escher by his father-in-law. This sculpture first appears in Escher's 1934 lithograph Still Life with Spherical Mirror.The picture is featured in the cover of the 1965 edition of Italo Calvino's Cosmicomics.

print
Italo Calvino
Category:1947 paintings
Cosmicomics
Printmaking
woodcut
Lithography
Harry N. Abrams, Inc.
Category:Works by M. C. Escher
mezzotint
M. C. Escher
Abrams Books
Category:Woodcuts
Netherlands
paradox
Dutch
lithograph
Still Life with Spherical Mirror


Another World (M. C. Escher)

Prompt: In Another World (M. C. Escher), how is the abstract discussed?

Another World II, also known as Other World II, is a woodcut print by the Dutch artist M. C. Escher first printed in January 1947.It depicts a cubic architectural structure made from brick. The structure is a paradox with an open archway on each of the five visible sides of the cube. The structure wraps around the vertical axis to enclose the viewer's perspective. At the bottom of the image is an archway from which we seem to be looking up from the base, and through it we can see space. At the top of that arch is another arch which is level with our perspective, and through it we are looking out over a lunar horizon. At the top of that arch is another arch which covers the top of the image. We are looking down at this arch from above and through it onto the lunar surface.Standing in each archway along the vertical axis is a metal sculpture of a bird with a humanoid face. In each side archway is a horn or cornucopia hanging on chains. The views from above and below are consistent, placing the statue so that it faces the horn; however, the horizontal view reverses the relative positions of the statue and the horn, and rotates the horn 180 degrees.The three "birds" and three windows with horns hanging in them are not symmetrically arrayed as they might be if they depicted three mutually orthogonal vertical orientations. As is, the open wall we are looking through opens into a space with three different vertical orientations, but two of them are opposites of each other. Presumably, behind the picture's overall point of view, the same landscape continues behind the viewer in the same orientation as we see it through the window opposite. Of course, from the point of view of the bird at the bottom, we are looking up from the floor and from the point of view of the bird at the top we are looking down through an open roof. Note that this asymmetry requires a further asymmetry to account for the fact that our point of view is not obviously that of another bird. In one wall two windows and horns with opposite vertical orientation share the same wall. In the wall opposite, there is only one window with a horn, which shares the verticality of the overall picture and of the bird opposite. Thus, if the point of view of the drawing is that of another bird, there are four birds and three horns, with one of them being shared between two birds with the same vertical orientation. In order to portray three mutually orthogonal verticalities from the point of view of a third bird, the bird opposite that would have to be rotated 90 degrees, and the window adjacent to the viewer show the naturally oriented landscape behind the hanging horn. The previous month (December 1946), Escher created a mezzotint called Another World (Other World Gallery). The image in that print is the same as this one except that the arches continue on as an infinite corridor.The bird/human sculpture is a real sculpture which was given to Escher by his father-in-law. This sculpture first appears in Escher's 1934 lithograph Still Life with Spherical Mirror.The picture is featured in the cover of the 1965 edition of Italo Calvino's Cosmicomics.

print
Italo Calvino
Category:1947 paintings
Cosmicomics
Printmaking
woodcut
Lithography
Harry N. Abrams, Inc.
Category:Works by M. C. Escher
mezzotint
M. C. Escher
Abrams Books
Category:Woodcuts
Netherlands
paradox
Dutch
lithograph
Still Life with Spherical Mirror


Cupid's Span

Prompt: Focus on Cupid's Span and explain the abstract.

Cupid's Span is an outdoor sculpture by married artists Claes Oldenburg and Coosje van Bruggen, installed along the Embarcadero in San Francisco, California, in the United States. The 70-foot (21 m) sculpture, commissioned by Gap Inc. founders Donald and Doris F. Fisher, depicts a partial bow and piece of an arrow.

List of public art by Oldenburg and van Bruggen

Category:Outdoor sculptures in San Francisco

Category:Financial District, San Francisco

Category:Sculptures by Coosje van Bruggen

Category:2002 establishments in California


Cupid's Span

Prompt: Explain the abstract of this artwork, Cupid's Span.

Cupid's Span is an outdoor sculpture by married artists Claes Oldenburg and Coosje van Bruggen, installed along the Embarcadero in San Francisco, California, in the United States. The 70-foot (21 m) sculpture, commissioned by Gap Inc. founders Donald and Doris F. Fisher, depicts a partial bow and piece of an arrow.

List of public art by Oldenburg and van Bruggen

Category:Outdoor sculptures in San Francisco

Category:Financial District, San Francisco

Category:Sculptures by Coosje van Bruggen

Category:2002 establishments in California


Cupid's Span

Prompt: How does Cupid's Span explain its abstract?

Cupid's Span is an outdoor sculpture by married artists Claes Oldenburg and Coosje van Bruggen, installed along the Embarcadero in San Francisco, California, in the United States. The 70-foot (21 m) sculpture, commissioned by Gap Inc. founders Donald and Doris F. Fisher, depicts a partial bow and piece of an arrow.

List of public art by Oldenburg and van Bruggen

Category:Outdoor sculptures in San Francisco

Category:Financial District, San Francisco

Category:Sculptures by Coosje van Bruggen

Category:2002 establishments in California


Cupid's Span

Prompt: In Cupid's Span, how is the abstract discussed?

Cupid's Span is an outdoor sculpture by married artists Claes Oldenburg and Coosje van Bruggen, installed along the Embarcadero in San Francisco, California, in the United States. The 70-foot (21 m) sculpture, commissioned by Gap Inc. founders Donald and Doris F. Fisher, depicts a partial bow and piece of an arrow.

List of public art by Oldenburg and van Bruggen

Category:Outdoor sculptures in San Francisco

Category:Financial District, San Francisco

Category:Sculptures by Coosje van Bruggen

Category:2002 establishments in California


Cupid's Span

Prompt: Focus on Cupid's Span and explain the Description and history.

Claes Oldenburg and Coosje van Bruggen's Cupid's Span, made of fiberglass and steel, was installed in the newly built Rincon Park along the Embarcadero in San Francisco in 2002. The piece resembles Cupid's bow and arrow, drawn, with the arrow and bow partially implanted in the ground; the artists stated that the piece was inspired by San Francisco's reputation as the home port of Eros, hence the stereotypical bow and arrow of Cupid. Leydier and Penwarden wrote, "Love's trade-mark weapon naturally evokes the city's permissive and romantic reputation, while formally its taut curve resonates wonderfully with the structure of the famous suspension bridge (the San Francisco–Oakland Bay Bridge) in the background."

List of public art by Oldenburg and van Bruggen

Category:Outdoor sculptures in San Francisco

Category:Financial District, San Francisco

Category:Sculptures by Coosje van Bruggen

Category:2002 establishments in California


Cupid's Span

Prompt: Explain the Description and history of this artwork, Cupid's Span.

Claes Oldenburg and Coosje van Bruggen's Cupid's Span, made of fiberglass and steel, was installed in the newly built Rincon Park along the Embarcadero in San Francisco in 2002. The piece resembles Cupid's bow and arrow, drawn, with the arrow and bow partially implanted in the ground; the artists stated that the piece was inspired by San Francisco's reputation as the home port of Eros, hence the stereotypical bow and arrow of Cupid. Leydier and Penwarden wrote, "Love's trade-mark weapon naturally evokes the city's permissive and romantic reputation, while formally its taut curve resonates wonderfully with the structure of the famous suspension bridge (the San Francisco–Oakland Bay Bridge) in the background."

List of public art by Oldenburg and van Bruggen

Category:Outdoor sculptures in San Francisco

Category:Financial District, San Francisco

Category:Sculptures by Coosje van Bruggen

Category:2002 establishments in California


Cupid's Span

Prompt: How does Cupid's Span explain its Description and history?

Claes Oldenburg and Coosje van Bruggen's Cupid's Span, made of fiberglass and steel, was installed in the newly built Rincon Park along the Embarcadero in San Francisco in 2002. The piece resembles Cupid's bow and arrow, drawn, with the arrow and bow partially implanted in the ground; the artists stated that the piece was inspired by San Francisco's reputation as the home port of Eros, hence the stereotypical bow and arrow of Cupid. Leydier and Penwarden wrote, "Love's trade-mark weapon naturally evokes the city's permissive and romantic reputation, while formally its taut curve resonates wonderfully with the structure of the famous suspension bridge (the San Francisco–Oakland Bay Bridge) in the background."

List of public art by Oldenburg and van Bruggen

Category:Outdoor sculptures in San Francisco

Category:Financial District, San Francisco

Category:Sculptures by Coosje van Bruggen

Category:2002 establishments in California


Cupid's Span

Prompt: In Cupid's Span, how is the Description and history discussed?

Claes Oldenburg and Coosje van Bruggen's Cupid's Span, made of fiberglass and steel, was installed in the newly built Rincon Park along the Embarcadero in San Francisco in 2002. The piece resembles Cupid's bow and arrow, drawn, with the arrow and bow partially implanted in the ground; the artists stated that the piece was inspired by San Francisco's reputation as the home port of Eros, hence the stereotypical bow and arrow of Cupid. Leydier and Penwarden wrote, "Love's trade-mark weapon naturally evokes the city's permissive and romantic reputation, while formally its taut curve resonates wonderfully with the structure of the famous suspension bridge (the San Francisco–Oakland Bay Bridge) in the background."

List of public art by Oldenburg and van Bruggen

Category:Outdoor sculptures in San Francisco

Category:Financial District, San Francisco

Category:Sculptures by Coosje van Bruggen

Category:2002 establishments in California


Ideals (sculpture)

Prompt: Focus on Ideals (sculpture) and explain the abstract.

Ideals is an outdoor 1992 bronze sculpture by Muriel Castanis, located outside the Portland State Office Building in northeast Portland, Oregon.

File:Ideals plaque, Portland, Oregon (2015).jpg

Category:Lloyd District, Portland, Oregon

Category:Outdoor sculptures in Northeast Portland, Oregon

Category:Allegorical sculptures in Oregon

Category:Bronze sculptures in Portland, Oregon


Ideals (sculpture)

Prompt: Explain the abstract of this artwork, Ideals (sculpture).

Ideals is an outdoor 1992 bronze sculpture by Muriel Castanis, located outside the Portland State Office Building in northeast Portland, Oregon.

File:Ideals plaque, Portland, Oregon (2015).jpg

Category:Lloyd District, Portland, Oregon

Category:Outdoor sculptures in Northeast Portland, Oregon

Category:Allegorical sculptures in Oregon

Category:Bronze sculptures in Portland, Oregon


Ideals (sculpture)

Prompt: How does Ideals (sculpture) explain its abstract?

Ideals is an outdoor 1992 bronze sculpture by Muriel Castanis, located outside the Portland State Office Building in northeast Portland, Oregon.

File:Ideals plaque, Portland, Oregon (2015).jpg

Category:Lloyd District, Portland, Oregon

Category:Outdoor sculptures in Northeast Portland, Oregon

Category:Allegorical sculptures in Oregon

Category:Bronze sculptures in Portland, Oregon


Ideals (sculpture)

Prompt: In Ideals (sculpture), how is the abstract discussed?

Ideals is an outdoor 1992 bronze sculpture by Muriel Castanis, located outside the Portland State Office Building in northeast Portland, Oregon.

File:Ideals plaque, Portland, Oregon (2015).jpg

Category:Lloyd District, Portland, Oregon

Category:Outdoor sculptures in Northeast Portland, Oregon

Category:Allegorical sculptures in Oregon

Category:Bronze sculptures in Portland, Oregon


Ideals (sculpture)

Prompt: Focus on Ideals (sculpture) and explain the Description and history.

Ideals was commissioned in 1991 as part of the One Percent for Art in State Buildings Collection. It was completed by Castanis in February 1992 and installed at the northwest exterior corner of the Portland State Office Building (800 Northeast Oregon Street) in the Lloyd District. The bronze with green patina sculpture measures approximately 6 feet (1.8 m) x 2.75 feet (0.84 m) x 3.5 feet (1.1 m). It rests on an aggregate base which has a diameter of approximately 6 feet (1.8 m) and weighs 850 lbs. The Smithsonian Institution categorizes the work as abstract and allegorical ("hope") and describes it as a "standing female-like figure in the form of a hooded drapery garment with no visible figure inside". The Public Art Archives describes the sculpture as an "illusion of a human female form, defined by the draping and gathering of cloth rather than the positive space of the form herself". The figure is illuminated by four footlights in the base and its proper left arm is raised. The piece was surveyed and considered "well maintained" by Smithsonian's "Save Outdoor Sculpture!" program in 1993. Ideals is administered by the State of Oregon's Arts Commission.

File:Ideals plaque, Portland, Oregon (2015).jpg

Category:Lloyd District, Portland, Oregon

Category:Outdoor sculptures in Northeast Portland, Oregon

Category:Allegorical sculptures in Oregon

Category:Bronze sculptures in Portland, Oregon


Ideals (sculpture)

Prompt: Explain the Description and history of this artwork, Ideals (sculpture).

Ideals was commissioned in 1991 as part of the One Percent for Art in State Buildings Collection. It was completed by Castanis in February 1992 and installed at the northwest exterior corner of the Portland State Office Building (800 Northeast Oregon Street) in the Lloyd District. The bronze with green patina sculpture measures approximately 6 feet (1.8 m) x 2.75 feet (0.84 m) x 3.5 feet (1.1 m). It rests on an aggregate base which has a diameter of approximately 6 feet (1.8 m) and weighs 850 lbs. The Smithsonian Institution categorizes the work as abstract and allegorical ("hope") and describes it as a "standing female-like figure in the form of a hooded drapery garment with no visible figure inside". The Public Art Archives describes the sculpture as an "illusion of a human female form, defined by the draping and gathering of cloth rather than the positive space of the form herself". The figure is illuminated by four footlights in the base and its proper left arm is raised. The piece was surveyed and considered "well maintained" by Smithsonian's "Save Outdoor Sculpture!" program in 1993. Ideals is administered by the State of Oregon's Arts Commission.

File:Ideals plaque, Portland, Oregon (2015).jpg

Category:Lloyd District, Portland, Oregon

Category:Outdoor sculptures in Northeast Portland, Oregon

Category:Allegorical sculptures in Oregon

Category:Bronze sculptures in Portland, Oregon


Ideals (sculpture)

Prompt: How does Ideals (sculpture) explain its Description and history?

Ideals was commissioned in 1991 as part of the One Percent for Art in State Buildings Collection. It was completed by Castanis in February 1992 and installed at the northwest exterior corner of the Portland State Office Building (800 Northeast Oregon Street) in the Lloyd District. The bronze with green patina sculpture measures approximately 6 feet (1.8 m) x 2.75 feet (0.84 m) x 3.5 feet (1.1 m). It rests on an aggregate base which has a diameter of approximately 6 feet (1.8 m) and weighs 850 lbs. The Smithsonian Institution categorizes the work as abstract and allegorical ("hope") and describes it as a "standing female-like figure in the form of a hooded drapery garment with no visible figure inside". The Public Art Archives describes the sculpture as an "illusion of a human female form, defined by the draping and gathering of cloth rather than the positive space of the form herself". The figure is illuminated by four footlights in the base and its proper left arm is raised. The piece was surveyed and considered "well maintained" by Smithsonian's "Save Outdoor Sculpture!" program in 1993. Ideals is administered by the State of Oregon's Arts Commission.

File:Ideals plaque, Portland, Oregon (2015).jpg

Category:Lloyd District, Portland, Oregon

Category:Outdoor sculptures in Northeast Portland, Oregon

Category:Allegorical sculptures in Oregon

Category:Bronze sculptures in Portland, Oregon


Ideals (sculpture)

Prompt: In Ideals (sculpture), how is the Description and history discussed?

Ideals was commissioned in 1991 as part of the One Percent for Art in State Buildings Collection. It was completed by Castanis in February 1992 and installed at the northwest exterior corner of the Portland State Office Building (800 Northeast Oregon Street) in the Lloyd District. The bronze with green patina sculpture measures approximately 6 feet (1.8 m) x 2.75 feet (0.84 m) x 3.5 feet (1.1 m). It rests on an aggregate base which has a diameter of approximately 6 feet (1.8 m) and weighs 850 lbs. The Smithsonian Institution categorizes the work as abstract and allegorical ("hope") and describes it as a "standing female-like figure in the form of a hooded drapery garment with no visible figure inside". The Public Art Archives describes the sculpture as an "illusion of a human female form, defined by the draping and gathering of cloth rather than the positive space of the form herself". The figure is illuminated by four footlights in the base and its proper left arm is raised. The piece was surveyed and considered "well maintained" by Smithsonian's "Save Outdoor Sculpture!" program in 1993. Ideals is administered by the State of Oregon's Arts Commission.

File:Ideals plaque, Portland, Oregon (2015).jpg

Category:Lloyd District, Portland, Oregon

Category:Outdoor sculptures in Northeast Portland, Oregon

Category:Allegorical sculptures in Oregon

Category:Bronze sculptures in Portland, Oregon


Prompt: Focus on Statue of the Marquis de Lafayette (New York City) and explain the abstract.

Marquis de Lafayette is an outdoor bronze sculpture of Gilbert du Motier, Marquis de Lafayette by artist Frédéric Auguste Bartholdi, located at Union Square Park in Manhattan, New York.

Category:Monuments and memorials in Manhattan

Category:1876 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Cultural depictions of Gilbert du Motier, Marquis de Lafayette

Category:Sculptures by Frédéric Auguste Bartholdi


Prompt: Explain the abstract of this artwork, Statue of the Marquis de Lafayette (New York City).

Marquis de Lafayette is an outdoor bronze sculpture of Gilbert du Motier, Marquis de Lafayette by artist Frédéric Auguste Bartholdi, located at Union Square Park in Manhattan, New York.

Category:Monuments and memorials in Manhattan

Category:1876 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Cultural depictions of Gilbert du Motier, Marquis de Lafayette

Category:Sculptures by Frédéric Auguste Bartholdi


Prompt: How does Statue of the Marquis de Lafayette (New York City) explain its abstract?

Marquis de Lafayette is an outdoor bronze sculpture of Gilbert du Motier, Marquis de Lafayette by artist Frédéric Auguste Bartholdi, located at Union Square Park in Manhattan, New York.

Category:Monuments and memorials in Manhattan

Category:1876 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Cultural depictions of Gilbert du Motier, Marquis de Lafayette

Category:Sculptures by Frédéric Auguste Bartholdi


Prompt: In Statue of the Marquis de Lafayette (New York City), how is the abstract discussed?

Marquis de Lafayette is an outdoor bronze sculpture of Gilbert du Motier, Marquis de Lafayette by artist Frédéric Auguste Bartholdi, located at Union Square Park in Manhattan, New York.

Category:Monuments and memorials in Manhattan

Category:1876 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Cultural depictions of Gilbert du Motier, Marquis de Lafayette

Category:Sculptures by Frédéric Auguste Bartholdi


Prompt: Focus on Statue of the Marquis de Lafayette (New York City) and explain the Description and history.

Donated by French residents of New York and dedicated on September 6, 1876, the portrait statue rests on a Quincy granite pedestal. In 1991, it was conserved by the Municipal Art Society and the New York City Art Commission's joint Adopt-A-Monument Program.

Category:Monuments and memorials in Manhattan

Category:1876 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Cultural depictions of Gilbert du Motier, Marquis de Lafayette

Category:Sculptures by Frédéric Auguste Bartholdi


Prompt: Explain the Description and history of this artwork, Statue of the Marquis de Lafayette (New York City).

Donated by French residents of New York and dedicated on September 6, 1876, the portrait statue rests on a Quincy granite pedestal. In 1991, it was conserved by the Municipal Art Society and the New York City Art Commission's joint Adopt-A-Monument Program.

Category:Monuments and memorials in Manhattan

Category:1876 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Cultural depictions of Gilbert du Motier, Marquis de Lafayette

Category:Sculptures by Frédéric Auguste Bartholdi


Prompt: How does Statue of the Marquis de Lafayette (New York City) explain its Description and history?

Donated by French residents of New York and dedicated on September 6, 1876, the portrait statue rests on a Quincy granite pedestal. In 1991, it was conserved by the Municipal Art Society and the New York City Art Commission's joint Adopt-A-Monument Program.

Category:Monuments and memorials in Manhattan

Category:1876 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Cultural depictions of Gilbert du Motier, Marquis de Lafayette

Category:Sculptures by Frédéric Auguste Bartholdi


Prompt: In Statue of the Marquis de Lafayette (New York City), how is the Description and history discussed?

Donated by French residents of New York and dedicated on September 6, 1876, the portrait statue rests on a Quincy granite pedestal. In 1991, it was conserved by the Municipal Art Society and the New York City Art Commission's joint Adopt-A-Monument Program.

Category:Monuments and memorials in Manhattan

Category:1876 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks and Recreation

Category:Cultural depictions of Gilbert du Motier, Marquis de Lafayette

Category:Sculptures by Frédéric Auguste Bartholdi


Martelli Annunciation

Prompt: Focus on Martelli Annunciation and explain the abstract.

The Annunciation is a painting by Fra Filippo Lippi hung in the Martelli Chapel in the left transept of the Basilica di San Lorenzo, Florence, Italy. There are several paintings by Lippi of this same name.This piece is about six feet by six feet. There is little known information about the painting's origin, although it is likely that it was originally commissioned for use in its current location. The dating (c. 1440) is based on the style and the presence of Saint Nicholas in the predella panels. The patron for this piece was notably Niccolò Martelli, a rich Florentine citizen who supported the reconstruction of the basilica and other parts of town.The painting is considered the first known example of a squared altarpiece, without any traditional gothic decoration like pinnacles or cusps, in order to better match the simple architecture of the church, by Brunelleschi.The panel is divided in two by a central column. It uses a geometrical perspective to show a complex architecture including several edifices and an open loggia. There are several elements suggesting the influence of Flemish painting, by which Lippi was influenced during his stay in Padua. These include the glass ampulla in the foreground, symbolizing the Holy Spirit.

Old Testament
Italian Renaissance
Flemish painting
Category:Paintings by Filippo Lippi
Carmelites
angel
Filippo Lippi
Fra Filippo Lippi
Category:Paintings of the Virgin Mary
Category:Paintings of the Annunciation
Barbadori Altarpiece
Padua
contrapposto
Filippo Brunelleschi
realism
San Lorenzo (Florence)
Basilica di San Lorenzo
Brunelleschi
Basilica of San Lorenzo, Florence
loggia
ampulla
gravity
garden
Italy
predella
Realism (arts)
Category:1440 paintings
Florence


Martelli Annunciation

Prompt: Explain the abstract of this artwork, Martelli Annunciation.

The Annunciation is a painting by Fra Filippo Lippi hung in the Martelli Chapel in the left transept of the Basilica di San Lorenzo, Florence, Italy. There are several paintings by Lippi of this same name.This piece is about six feet by six feet. There is little known information about the painting's origin, although it is likely that it was originally commissioned for use in its current location. The dating (c. 1440) is based on the style and the presence of Saint Nicholas in the predella panels. The patron for this piece was notably Niccolò Martelli, a rich Florentine citizen who supported the reconstruction of the basilica and other parts of town.The painting is considered the first known example of a squared altarpiece, without any traditional gothic decoration like pinnacles or cusps, in order to better match the simple architecture of the church, by Brunelleschi.The panel is divided in two by a central column. It uses a geometrical perspective to show a complex architecture including several edifices and an open loggia. There are several elements suggesting the influence of Flemish painting, by which Lippi was influenced during his stay in Padua. These include the glass ampulla in the foreground, symbolizing the Holy Spirit.

Old Testament
Italian Renaissance
Flemish painting
Category:Paintings by Filippo Lippi
Carmelites
angel
Filippo Lippi
Fra Filippo Lippi
Category:Paintings of the Virgin Mary
Category:Paintings of the Annunciation
Barbadori Altarpiece
Padua
contrapposto
Filippo Brunelleschi
realism
San Lorenzo (Florence)
Basilica di San Lorenzo
Brunelleschi
Basilica of San Lorenzo, Florence
loggia
ampulla
gravity
garden
Italy
predella
Realism (arts)
Category:1440 paintings
Florence


Martelli Annunciation

Prompt: How does Martelli Annunciation explain its abstract?

The Annunciation is a painting by Fra Filippo Lippi hung in the Martelli Chapel in the left transept of the Basilica di San Lorenzo, Florence, Italy. There are several paintings by Lippi of this same name.This piece is about six feet by six feet. There is little known information about the painting's origin, although it is likely that it was originally commissioned for use in its current location. The dating (c. 1440) is based on the style and the presence of Saint Nicholas in the predella panels. The patron for this piece was notably Niccolò Martelli, a rich Florentine citizen who supported the reconstruction of the basilica and other parts of town.The painting is considered the first known example of a squared altarpiece, without any traditional gothic decoration like pinnacles or cusps, in order to better match the simple architecture of the church, by Brunelleschi.The panel is divided in two by a central column. It uses a geometrical perspective to show a complex architecture including several edifices and an open loggia. There are several elements suggesting the influence of Flemish painting, by which Lippi was influenced during his stay in Padua. These include the glass ampulla in the foreground, symbolizing the Holy Spirit.

Old Testament
Italian Renaissance
Flemish painting
Category:Paintings by Filippo Lippi
Carmelites
angel
Filippo Lippi
Fra Filippo Lippi
Category:Paintings of the Virgin Mary
Category:Paintings of the Annunciation
Barbadori Altarpiece
Padua
contrapposto
Filippo Brunelleschi
realism
San Lorenzo (Florence)
Basilica di San Lorenzo
Brunelleschi
Basilica of San Lorenzo, Florence
loggia
ampulla
gravity
garden
Italy
predella
Realism (arts)
Category:1440 paintings
Florence


Martelli Annunciation

Prompt: In Martelli Annunciation, how is the abstract discussed?

The Annunciation is a painting by Fra Filippo Lippi hung in the Martelli Chapel in the left transept of the Basilica di San Lorenzo, Florence, Italy. There are several paintings by Lippi of this same name.This piece is about six feet by six feet. There is little known information about the painting's origin, although it is likely that it was originally commissioned for use in its current location. The dating (c. 1440) is based on the style and the presence of Saint Nicholas in the predella panels. The patron for this piece was notably Niccolò Martelli, a rich Florentine citizen who supported the reconstruction of the basilica and other parts of town.The painting is considered the first known example of a squared altarpiece, without any traditional gothic decoration like pinnacles or cusps, in order to better match the simple architecture of the church, by Brunelleschi.The panel is divided in two by a central column. It uses a geometrical perspective to show a complex architecture including several edifices and an open loggia. There are several elements suggesting the influence of Flemish painting, by which Lippi was influenced during his stay in Padua. These include the glass ampulla in the foreground, symbolizing the Holy Spirit.

Old Testament
Italian Renaissance
Flemish painting
Category:Paintings by Filippo Lippi
Carmelites
angel
Filippo Lippi
Fra Filippo Lippi
Category:Paintings of the Virgin Mary
Category:Paintings of the Annunciation
Barbadori Altarpiece
Padua
contrapposto
Filippo Brunelleschi
realism
San Lorenzo (Florence)
Basilica di San Lorenzo
Brunelleschi
Basilica of San Lorenzo, Florence
loggia
ampulla
gravity
garden
Italy
predella
Realism (arts)
Category:1440 paintings
Florence