Eight Views of Ōmi

Prompt: In Eight Views of Ōmi, how is the The Eight Views discussed?

All views are situated at the southern end of Lake Biwa. There is no fixed order. The following list circles the lake, beginning on the east side.Returning sails at Yabase (Yabase no kihan 矢橋帰帆). Yabase is an old harbor on the east side of the lake. Near the Tōkaidō, it was used as a shortcut to Ōtsu by boat. In the early Meiji era steamers appeared, until the railway began its service.Evening glow at Seta (Seta no sekishō 瀬田夕照) – The Chinese Bridge at Seta. The long bridge across the Seta River was used by the Tōkaidō. Nowadays is there a bridge in the old Chinese style, a concrete construction, but nice to walk over. (Road traffic uses a new bridges to the north). In the background is the "Fuji of Ōmi" Mount Mikami. It is just above 400 meters tall, but indeed well visible.Autumn moon at Ishiyama (Ishiyama no shūgetsu 石山秋月) – Ishiyama Temple. The Ishiyama-dera was located on a hillside next to the Seta River. It got his name from the strange rocks on which it is built, partly on supporting beams. A hut at the upper end of the site allows a view of the lake and of the moon.Clear breeze at Awazu (Awazu no seiran 粟津晴嵐) – Awazuhara. Awazu is well known for its pine wood, Awazu-ga-hara. In some pictures the Zeze Castle can be seen. It was dismantled in the Meiji era.Evening bell at Miidera (Mii no banshō 三井晩鐘) – Mii-dera. Miidera temple was built in the 8th century. Its bell is one of the "Three bells of Japan", the other two being those at Byōdō-in, Uji and at Jingo-ji, Kyoto.Evening rain at Karasaki (Karasaki no yau 唐崎夜雨) – Karasaki Shrine. Karasaki is a small cape with a single large pine tree, a hitsu-matsu. The pine has been replaced several times since Hiroshige's era.Wild geese returning home at Katata (Katata no rakugan 堅田落雁) – Ukimido. Alighting geese cannot be seen always, however the little temple near Katata in the square hōkyō-style, detached from the lakeside, connected by a bridge. The first part of the name uki is the same as in Ukiyo-e, meaning floating. Midō means temple.Evening snow at Hira (Hira no bosetsu 比良暮雪) – Hira Mountains. The Hira Mountains on the west side of the lake experience the hard winter, when the winter monsoon brings much snow from the continent.

Eight Views of Taiwan
Mii-dera
Suzuki Harunobu
Ishiyama Temple
Lushun South Road
mitate-e
Ōmi Province
Zashiki Hakkei
Mount Mikami
Category:Print series by Hiroshige
ukiyo-e
Jinzhou (Dalian)
Hiroshige
The Chinese Bridge at Seta
Seta River
Tōkaidō
Mangetsu-ji
Tōkaidō (road)
Ōtsu
Konoe Hisamichi
mitate
Jingo-ji
Konoe Masaie
Prince Konoe Masaie
Shiga Prefecture
Utagawa Hiroshige
David Bull (craftsman)
Eight Views of Xiaoxiang
Jinzhou, Dalian
Ishiyama-dera
Yabase
Category:Shiga Prefecture
Ukimido
Hira Mountains
Eight Views
Lake Biwa
Zeze Castle
Ukiyo-e
Byōdō-in
Thirty-six Views of Mount Fuji
Prince Hisamichi
Yodo River
Awazuhara
Dalian
Hokusai


Eight Views of Ōmi

Prompt: Focus on Eight Views of Ōmi and explain the Other Eight views.

Hiroshige alone produced nearly 20 different series "Omi hakkei". Other artists followed. To please everybody, "Eight views of" were created for many parts of Japan, e.g. using surroundings of Edo. A series called "Eight views of Kanazawa" reflects a bay near Yokohama.

Eight Views of Taiwan
Mii-dera
Suzuki Harunobu
Ishiyama Temple
Lushun South Road
mitate-e
Ōmi Province
Zashiki Hakkei
Mount Mikami
Category:Print series by Hiroshige
ukiyo-e
Jinzhou (Dalian)
Hiroshige
The Chinese Bridge at Seta
Seta River
Tōkaidō
Mangetsu-ji
Tōkaidō (road)
Ōtsu
Konoe Hisamichi
mitate
Jingo-ji
Konoe Masaie
Prince Konoe Masaie
Shiga Prefecture
Utagawa Hiroshige
David Bull (craftsman)
Eight Views of Xiaoxiang
Jinzhou, Dalian
Ishiyama-dera
Yabase
Category:Shiga Prefecture
Ukimido
Hira Mountains
Eight Views
Lake Biwa
Zeze Castle
Ukiyo-e
Byōdō-in
Thirty-six Views of Mount Fuji
Prince Hisamichi
Yodo River
Awazuhara
Dalian
Hokusai


Eight Views of Ōmi

Prompt: Explain the Other Eight views of this artwork, Eight Views of Ōmi.

Hiroshige alone produced nearly 20 different series "Omi hakkei". Other artists followed. To please everybody, "Eight views of" were created for many parts of Japan, e.g. using surroundings of Edo. A series called "Eight views of Kanazawa" reflects a bay near Yokohama.

Eight Views of Taiwan
Mii-dera
Suzuki Harunobu
Ishiyama Temple
Lushun South Road
mitate-e
Ōmi Province
Zashiki Hakkei
Mount Mikami
Category:Print series by Hiroshige
ukiyo-e
Jinzhou (Dalian)
Hiroshige
The Chinese Bridge at Seta
Seta River
Tōkaidō
Mangetsu-ji
Tōkaidō (road)
Ōtsu
Konoe Hisamichi
mitate
Jingo-ji
Konoe Masaie
Prince Konoe Masaie
Shiga Prefecture
Utagawa Hiroshige
David Bull (craftsman)
Eight Views of Xiaoxiang
Jinzhou, Dalian
Ishiyama-dera
Yabase
Category:Shiga Prefecture
Ukimido
Hira Mountains
Eight Views
Lake Biwa
Zeze Castle
Ukiyo-e
Byōdō-in
Thirty-six Views of Mount Fuji
Prince Hisamichi
Yodo River
Awazuhara
Dalian
Hokusai


Eight Views of Ōmi

Prompt: How does Eight Views of Ōmi explain its Other Eight views?

Hiroshige alone produced nearly 20 different series "Omi hakkei". Other artists followed. To please everybody, "Eight views of" were created for many parts of Japan, e.g. using surroundings of Edo. A series called "Eight views of Kanazawa" reflects a bay near Yokohama.

Eight Views of Taiwan
Mii-dera
Suzuki Harunobu
Ishiyama Temple
Lushun South Road
mitate-e
Ōmi Province
Zashiki Hakkei
Mount Mikami
Category:Print series by Hiroshige
ukiyo-e
Jinzhou (Dalian)
Hiroshige
The Chinese Bridge at Seta
Seta River
Tōkaidō
Mangetsu-ji
Tōkaidō (road)
Ōtsu
Konoe Hisamichi
mitate
Jingo-ji
Konoe Masaie
Prince Konoe Masaie
Shiga Prefecture
Utagawa Hiroshige
David Bull (craftsman)
Eight Views of Xiaoxiang
Jinzhou, Dalian
Ishiyama-dera
Yabase
Category:Shiga Prefecture
Ukimido
Hira Mountains
Eight Views
Lake Biwa
Zeze Castle
Ukiyo-e
Byōdō-in
Thirty-six Views of Mount Fuji
Prince Hisamichi
Yodo River
Awazuhara
Dalian
Hokusai


Eight Views of Ōmi

Prompt: In Eight Views of Ōmi, how is the Other Eight views discussed?

Hiroshige alone produced nearly 20 different series "Omi hakkei". Other artists followed. To please everybody, "Eight views of" were created for many parts of Japan, e.g. using surroundings of Edo. A series called "Eight views of Kanazawa" reflects a bay near Yokohama.

Eight Views of Taiwan
Mii-dera
Suzuki Harunobu
Ishiyama Temple
Lushun South Road
mitate-e
Ōmi Province
Zashiki Hakkei
Mount Mikami
Category:Print series by Hiroshige
ukiyo-e
Jinzhou (Dalian)
Hiroshige
The Chinese Bridge at Seta
Seta River
Tōkaidō
Mangetsu-ji
Tōkaidō (road)
Ōtsu
Konoe Hisamichi
mitate
Jingo-ji
Konoe Masaie
Prince Konoe Masaie
Shiga Prefecture
Utagawa Hiroshige
David Bull (craftsman)
Eight Views of Xiaoxiang
Jinzhou, Dalian
Ishiyama-dera
Yabase
Category:Shiga Prefecture
Ukimido
Hira Mountains
Eight Views
Lake Biwa
Zeze Castle
Ukiyo-e
Byōdō-in
Thirty-six Views of Mount Fuji
Prince Hisamichi
Yodo River
Awazuhara
Dalian
Hokusai


Eight Views of Ōmi

Prompt: Focus on Eight Views of Ōmi and explain the Ukiyoe pictures by Hiroshige.

Hiroshige designed the following ukiyo-e pictures:

Eight Views of Taiwan
Mii-dera
Suzuki Harunobu
Ishiyama Temple
Lushun South Road
mitate-e
Ōmi Province
Zashiki Hakkei
Mount Mikami
Category:Print series by Hiroshige
ukiyo-e
Jinzhou (Dalian)
Hiroshige
The Chinese Bridge at Seta
Seta River
Tōkaidō
Mangetsu-ji
Tōkaidō (road)
Ōtsu
Konoe Hisamichi
mitate
Jingo-ji
Konoe Masaie
Prince Konoe Masaie
Shiga Prefecture
Utagawa Hiroshige
David Bull (craftsman)
Eight Views of Xiaoxiang
Jinzhou, Dalian
Ishiyama-dera
Yabase
Category:Shiga Prefecture
Ukimido
Hira Mountains
Eight Views
Lake Biwa
Zeze Castle
Ukiyo-e
Byōdō-in
Thirty-six Views of Mount Fuji
Prince Hisamichi
Yodo River
Awazuhara
Dalian
Hokusai


Eight Views of Ōmi

Prompt: Explain the Ukiyoe pictures by Hiroshige of this artwork, Eight Views of Ōmi.

Hiroshige designed the following ukiyo-e pictures:

Eight Views of Taiwan
Mii-dera
Suzuki Harunobu
Ishiyama Temple
Lushun South Road
mitate-e
Ōmi Province
Zashiki Hakkei
Mount Mikami
Category:Print series by Hiroshige
ukiyo-e
Jinzhou (Dalian)
Hiroshige
The Chinese Bridge at Seta
Seta River
Tōkaidō
Mangetsu-ji
Tōkaidō (road)
Ōtsu
Konoe Hisamichi
mitate
Jingo-ji
Konoe Masaie
Prince Konoe Masaie
Shiga Prefecture
Utagawa Hiroshige
David Bull (craftsman)
Eight Views of Xiaoxiang
Jinzhou, Dalian
Ishiyama-dera
Yabase
Category:Shiga Prefecture
Ukimido
Hira Mountains
Eight Views
Lake Biwa
Zeze Castle
Ukiyo-e
Byōdō-in
Thirty-six Views of Mount Fuji
Prince Hisamichi
Yodo River
Awazuhara
Dalian
Hokusai


Eight Views of Ōmi

Prompt: How does Eight Views of Ōmi explain its Ukiyoe pictures by Hiroshige?

Hiroshige designed the following ukiyo-e pictures:

Eight Views of Taiwan
Mii-dera
Suzuki Harunobu
Ishiyama Temple
Lushun South Road
mitate-e
Ōmi Province
Zashiki Hakkei
Mount Mikami
Category:Print series by Hiroshige
ukiyo-e
Jinzhou (Dalian)
Hiroshige
The Chinese Bridge at Seta
Seta River
Tōkaidō
Mangetsu-ji
Tōkaidō (road)
Ōtsu
Konoe Hisamichi
mitate
Jingo-ji
Konoe Masaie
Prince Konoe Masaie
Shiga Prefecture
Utagawa Hiroshige
David Bull (craftsman)
Eight Views of Xiaoxiang
Jinzhou, Dalian
Ishiyama-dera
Yabase
Category:Shiga Prefecture
Ukimido
Hira Mountains
Eight Views
Lake Biwa
Zeze Castle
Ukiyo-e
Byōdō-in
Thirty-six Views of Mount Fuji
Prince Hisamichi
Yodo River
Awazuhara
Dalian
Hokusai


Eight Views of Ōmi

Prompt: In Eight Views of Ōmi, how is the Ukiyoe pictures by Hiroshige discussed?

Hiroshige designed the following ukiyo-e pictures:

Eight Views of Taiwan
Mii-dera
Suzuki Harunobu
Ishiyama Temple
Lushun South Road
mitate-e
Ōmi Province
Zashiki Hakkei
Mount Mikami
Category:Print series by Hiroshige
ukiyo-e
Jinzhou (Dalian)
Hiroshige
The Chinese Bridge at Seta
Seta River
Tōkaidō
Mangetsu-ji
Tōkaidō (road)
Ōtsu
Konoe Hisamichi
mitate
Jingo-ji
Konoe Masaie
Prince Konoe Masaie
Shiga Prefecture
Utagawa Hiroshige
David Bull (craftsman)
Eight Views of Xiaoxiang
Jinzhou, Dalian
Ishiyama-dera
Yabase
Category:Shiga Prefecture
Ukimido
Hira Mountains
Eight Views
Lake Biwa
Zeze Castle
Ukiyo-e
Byōdō-in
Thirty-six Views of Mount Fuji
Prince Hisamichi
Yodo River
Awazuhara
Dalian
Hokusai


The Toilette of Esther

Prompt: Focus on The Toilette of Esther and explain the abstract.

The Toilette of Esther or Esther Preparing to be Presented to King Ahasuerus, is an 1841 oil-on-canvas painting by the French artist Théodore Chassériau. The painting depicts a moment from the scriptural Book of Esther, when Esther prepared to meet King Ahasuerus, ruler of Persia, who subsequently took her as his wife. The painting is in the Musée du Louvre. Vincent Pomarède of the Museum of Fine Arts of Lyon has described it as "one of the most famous (paintings) in the Louvre".

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: Explain the abstract of this artwork, The Toilette of Esther.

The Toilette of Esther or Esther Preparing to be Presented to King Ahasuerus, is an 1841 oil-on-canvas painting by the French artist Théodore Chassériau. The painting depicts a moment from the scriptural Book of Esther, when Esther prepared to meet King Ahasuerus, ruler of Persia, who subsequently took her as his wife. The painting is in the Musée du Louvre. Vincent Pomarède of the Museum of Fine Arts of Lyon has described it as "one of the most famous (paintings) in the Louvre".

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: How does The Toilette of Esther explain its abstract?

The Toilette of Esther or Esther Preparing to be Presented to King Ahasuerus, is an 1841 oil-on-canvas painting by the French artist Théodore Chassériau. The painting depicts a moment from the scriptural Book of Esther, when Esther prepared to meet King Ahasuerus, ruler of Persia, who subsequently took her as his wife. The painting is in the Musée du Louvre. Vincent Pomarède of the Museum of Fine Arts of Lyon has described it as "one of the most famous (paintings) in the Louvre".

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: In The Toilette of Esther, how is the abstract discussed?

The Toilette of Esther or Esther Preparing to be Presented to King Ahasuerus, is an 1841 oil-on-canvas painting by the French artist Théodore Chassériau. The painting depicts a moment from the scriptural Book of Esther, when Esther prepared to meet King Ahasuerus, ruler of Persia, who subsequently took her as his wife. The painting is in the Musée du Louvre. Vincent Pomarède of the Museum of Fine Arts of Lyon has described it as "one of the most famous (paintings) in the Louvre".

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: Focus on The Toilette of Esther and explain the Narrative.

The subject derives from the Book of Esther (2:8-9, 15), in which King Ahasuerus, having renounced his wife Vashti, seeks a new queen. Esther, a woman of great beauty, finds favor with Hegai, the eunuch responsible for preparing women for presentation to the king. Upon seeing Esther, Ahasuerus chooses her as his wife. She later reveals that she is Jewish, and intercedes with the king in order to spare the lives of the empire's Jews.While choosing a biblical theme as a subject, it is likely that Chassériau drew upon more recent literary sources for inspiration. The play Esther, produced by Jean Racine in 1689, offers a more chaste version of Esther's seduction, while describing the artifice employed by her rivals for the king's attention. The exoticism of the painting is closer to an 1817 poem by Alfred de Vigny entitled Le Bain d'une dame romaine, which includes the description:A slave from Egypt, her skin glistening and black,Presents her, kneeling, with the pure steel of the mirror,To tie up her hair, a virgin from Greece,In Isis's compass joins her two braids....and is reminiscent also of Les Orientales by Victor Hugo:Have I not, for you, lovely Jewess,Sufficiently emptied my seraglio?The episode had rarely been painted before. Only two previous versions are known: a 17th-century painting by Aert de Gelder, and an 18th-century work by Jean-Francois de Troy. Given the dearth of pictorial illustrations of the story, Chassériau would have looked to paintings of women at their toilette, including depictions of Venus, of which there were more numerous examples.

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: Explain the Narrative of this artwork, The Toilette of Esther.

The subject derives from the Book of Esther (2:8-9, 15), in which King Ahasuerus, having renounced his wife Vashti, seeks a new queen. Esther, a woman of great beauty, finds favor with Hegai, the eunuch responsible for preparing women for presentation to the king. Upon seeing Esther, Ahasuerus chooses her as his wife. She later reveals that she is Jewish, and intercedes with the king in order to spare the lives of the empire's Jews.While choosing a biblical theme as a subject, it is likely that Chassériau drew upon more recent literary sources for inspiration. The play Esther, produced by Jean Racine in 1689, offers a more chaste version of Esther's seduction, while describing the artifice employed by her rivals for the king's attention. The exoticism of the painting is closer to an 1817 poem by Alfred de Vigny entitled Le Bain d'une dame romaine, which includes the description:A slave from Egypt, her skin glistening and black,Presents her, kneeling, with the pure steel of the mirror,To tie up her hair, a virgin from Greece,In Isis's compass joins her two braids....and is reminiscent also of Les Orientales by Victor Hugo:Have I not, for you, lovely Jewess,Sufficiently emptied my seraglio?The episode had rarely been painted before. Only two previous versions are known: a 17th-century painting by Aert de Gelder, and an 18th-century work by Jean-Francois de Troy. Given the dearth of pictorial illustrations of the story, Chassériau would have looked to paintings of women at their toilette, including depictions of Venus, of which there were more numerous examples.

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: How does The Toilette of Esther explain its Narrative?

The subject derives from the Book of Esther (2:8-9, 15), in which King Ahasuerus, having renounced his wife Vashti, seeks a new queen. Esther, a woman of great beauty, finds favor with Hegai, the eunuch responsible for preparing women for presentation to the king. Upon seeing Esther, Ahasuerus chooses her as his wife. She later reveals that she is Jewish, and intercedes with the king in order to spare the lives of the empire's Jews.While choosing a biblical theme as a subject, it is likely that Chassériau drew upon more recent literary sources for inspiration. The play Esther, produced by Jean Racine in 1689, offers a more chaste version of Esther's seduction, while describing the artifice employed by her rivals for the king's attention. The exoticism of the painting is closer to an 1817 poem by Alfred de Vigny entitled Le Bain d'une dame romaine, which includes the description:A slave from Egypt, her skin glistening and black,Presents her, kneeling, with the pure steel of the mirror,To tie up her hair, a virgin from Greece,In Isis's compass joins her two braids....and is reminiscent also of Les Orientales by Victor Hugo:Have I not, for you, lovely Jewess,Sufficiently emptied my seraglio?The episode had rarely been painted before. Only two previous versions are known: a 17th-century painting by Aert de Gelder, and an 18th-century work by Jean-Francois de Troy. Given the dearth of pictorial illustrations of the story, Chassériau would have looked to paintings of women at their toilette, including depictions of Venus, of which there were more numerous examples.

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: In The Toilette of Esther, how is the Narrative discussed?

The subject derives from the Book of Esther (2:8-9, 15), in which King Ahasuerus, having renounced his wife Vashti, seeks a new queen. Esther, a woman of great beauty, finds favor with Hegai, the eunuch responsible for preparing women for presentation to the king. Upon seeing Esther, Ahasuerus chooses her as his wife. She later reveals that she is Jewish, and intercedes with the king in order to spare the lives of the empire's Jews.While choosing a biblical theme as a subject, it is likely that Chassériau drew upon more recent literary sources for inspiration. The play Esther, produced by Jean Racine in 1689, offers a more chaste version of Esther's seduction, while describing the artifice employed by her rivals for the king's attention. The exoticism of the painting is closer to an 1817 poem by Alfred de Vigny entitled Le Bain d'une dame romaine, which includes the description:A slave from Egypt, her skin glistening and black,Presents her, kneeling, with the pure steel of the mirror,To tie up her hair, a virgin from Greece,In Isis's compass joins her two braids....and is reminiscent also of Les Orientales by Victor Hugo:Have I not, for you, lovely Jewess,Sufficiently emptied my seraglio?The episode had rarely been painted before. Only two previous versions are known: a 17th-century painting by Aert de Gelder, and an 18th-century work by Jean-Francois de Troy. Given the dearth of pictorial illustrations of the story, Chassériau would have looked to paintings of women at their toilette, including depictions of Venus, of which there were more numerous examples.

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: Focus on The Toilette of Esther and explain the Description.

Esther is shown seated at the center of the canvas, arms above her head as she arranges her blond coiffure. Preparing to offer herself for the king's approval, she holds a pose that is "profoundly erotic in its pictorial treatment". She is nude to the waist except for a necklace and bracelets on her arms; her legs are swathed in white- and rose-colored garments. At the left a servant woman dressed in rich blue brings accessories, and at the right Hegai, clad in bright red, offers a jewel box. Esther acknowledges neither of them, staring out of the picture to the left. Behind them is a landscape of trees and sky. Several preparatory studies exist. Two drawings in the Louvre evidence an initially circular composition, a tondo like The Turkish Bath that Chassériau's teacher Ingres would paint in 1862. Such experiments underscore Chassériau's desire to find original motifs, as he wrote alongside a drawing at the time: "....Put...the history...of the world in a new way...allowing one to see these beautiful things once again by presenting them in a fresh manner. May 1841. For my painting Esther preparing her toilette". The lush accessories and overall coloring owe something to Chassériau's admiration for Eugène Delacroix.Art historians have long noted Chassériau's affection for his sisters, and their subconscious influence on the female figures in his art. Perhaps drawing on the recollection of Chassériau's mistress Clémence Monnerot, who said "Adèle has superb arms; they appear everywhere", Jean-Louis Vaudoyer believed that the beauty of the artist's older sister could be found in Esther's "muscular, almost masculine, arms".

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: Explain the Description of this artwork, The Toilette of Esther.

Esther is shown seated at the center of the canvas, arms above her head as she arranges her blond coiffure. Preparing to offer herself for the king's approval, she holds a pose that is "profoundly erotic in its pictorial treatment". She is nude to the waist except for a necklace and bracelets on her arms; her legs are swathed in white- and rose-colored garments. At the left a servant woman dressed in rich blue brings accessories, and at the right Hegai, clad in bright red, offers a jewel box. Esther acknowledges neither of them, staring out of the picture to the left. Behind them is a landscape of trees and sky. Several preparatory studies exist. Two drawings in the Louvre evidence an initially circular composition, a tondo like The Turkish Bath that Chassériau's teacher Ingres would paint in 1862. Such experiments underscore Chassériau's desire to find original motifs, as he wrote alongside a drawing at the time: "....Put...the history...of the world in a new way...allowing one to see these beautiful things once again by presenting them in a fresh manner. May 1841. For my painting Esther preparing her toilette". The lush accessories and overall coloring owe something to Chassériau's admiration for Eugène Delacroix.Art historians have long noted Chassériau's affection for his sisters, and their subconscious influence on the female figures in his art. Perhaps drawing on the recollection of Chassériau's mistress Clémence Monnerot, who said "Adèle has superb arms; they appear everywhere", Jean-Louis Vaudoyer believed that the beauty of the artist's older sister could be found in Esther's "muscular, almost masculine, arms".

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: How does The Toilette of Esther explain its Description?

Esther is shown seated at the center of the canvas, arms above her head as she arranges her blond coiffure. Preparing to offer herself for the king's approval, she holds a pose that is "profoundly erotic in its pictorial treatment". She is nude to the waist except for a necklace and bracelets on her arms; her legs are swathed in white- and rose-colored garments. At the left a servant woman dressed in rich blue brings accessories, and at the right Hegai, clad in bright red, offers a jewel box. Esther acknowledges neither of them, staring out of the picture to the left. Behind them is a landscape of trees and sky. Several preparatory studies exist. Two drawings in the Louvre evidence an initially circular composition, a tondo like The Turkish Bath that Chassériau's teacher Ingres would paint in 1862. Such experiments underscore Chassériau's desire to find original motifs, as he wrote alongside a drawing at the time: "....Put...the history...of the world in a new way...allowing one to see these beautiful things once again by presenting them in a fresh manner. May 1841. For my painting Esther preparing her toilette". The lush accessories and overall coloring owe something to Chassériau's admiration for Eugène Delacroix.Art historians have long noted Chassériau's affection for his sisters, and their subconscious influence on the female figures in his art. Perhaps drawing on the recollection of Chassériau's mistress Clémence Monnerot, who said "Adèle has superb arms; they appear everywhere", Jean-Louis Vaudoyer believed that the beauty of the artist's older sister could be found in Esther's "muscular, almost masculine, arms".

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: In The Toilette of Esther, how is the Description discussed?

Esther is shown seated at the center of the canvas, arms above her head as she arranges her blond coiffure. Preparing to offer herself for the king's approval, she holds a pose that is "profoundly erotic in its pictorial treatment". She is nude to the waist except for a necklace and bracelets on her arms; her legs are swathed in white- and rose-colored garments. At the left a servant woman dressed in rich blue brings accessories, and at the right Hegai, clad in bright red, offers a jewel box. Esther acknowledges neither of them, staring out of the picture to the left. Behind them is a landscape of trees and sky. Several preparatory studies exist. Two drawings in the Louvre evidence an initially circular composition, a tondo like The Turkish Bath that Chassériau's teacher Ingres would paint in 1862. Such experiments underscore Chassériau's desire to find original motifs, as he wrote alongside a drawing at the time: "....Put...the history...of the world in a new way...allowing one to see these beautiful things once again by presenting them in a fresh manner. May 1841. For my painting Esther preparing her toilette". The lush accessories and overall coloring owe something to Chassériau's admiration for Eugène Delacroix.Art historians have long noted Chassériau's affection for his sisters, and their subconscious influence on the female figures in his art. Perhaps drawing on the recollection of Chassériau's mistress Clémence Monnerot, who said "Adèle has superb arms; they appear everywhere", Jean-Louis Vaudoyer believed that the beauty of the artist's older sister could be found in Esther's "muscular, almost masculine, arms".

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: Focus on The Toilette of Esther and explain the Exoticism.

The choice of an Old Testament story about a young woman in a harem freed Chassériau to take advantage of Orientalist and Romantic elements. The presence of Asian figures and sumptuous jewelry serves to further eroticize Esther's figure. Having previously painted a Birth of Venus and a Susanna and the Elders, Chassériau found another theme which permitted a frankly sexual presentation of the female body. The painting was not fully understood when first exhibited at the Paris Salon of 1842. If the critics recognized an insipidness in Esther's expression—one journalist complained "But why that elongated figure, those wild eyes, that savage look? There is no soul under that face..."—they failed to properly appreciate the originality of a biblical story re-imagined in an erotic, Romantic fashion. The painting would later inspire painters such as François-Léon Benouville and Gustave Moreau. The Toilette of Esther was bequeathed to the Louvre in 1934 by Baron Arthur Chassériau, a distant relative of the artist, as part of a donation that included most of the artist's work in his possession.

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: Explain the Exoticism of this artwork, The Toilette of Esther.

The choice of an Old Testament story about a young woman in a harem freed Chassériau to take advantage of Orientalist and Romantic elements. The presence of Asian figures and sumptuous jewelry serves to further eroticize Esther's figure. Having previously painted a Birth of Venus and a Susanna and the Elders, Chassériau found another theme which permitted a frankly sexual presentation of the female body. The painting was not fully understood when first exhibited at the Paris Salon of 1842. If the critics recognized an insipidness in Esther's expression—one journalist complained "But why that elongated figure, those wild eyes, that savage look? There is no soul under that face..."—they failed to properly appreciate the originality of a biblical story re-imagined in an erotic, Romantic fashion. The painting would later inspire painters such as François-Léon Benouville and Gustave Moreau. The Toilette of Esther was bequeathed to the Louvre in 1934 by Baron Arthur Chassériau, a distant relative of the artist, as part of a donation that included most of the artist's work in his possession.

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: How does The Toilette of Esther explain its Exoticism?

The choice of an Old Testament story about a young woman in a harem freed Chassériau to take advantage of Orientalist and Romantic elements. The presence of Asian figures and sumptuous jewelry serves to further eroticize Esther's figure. Having previously painted a Birth of Venus and a Susanna and the Elders, Chassériau found another theme which permitted a frankly sexual presentation of the female body. The painting was not fully understood when first exhibited at the Paris Salon of 1842. If the critics recognized an insipidness in Esther's expression—one journalist complained "But why that elongated figure, those wild eyes, that savage look? There is no soul under that face..."—they failed to properly appreciate the originality of a biblical story re-imagined in an erotic, Romantic fashion. The painting would later inspire painters such as François-Léon Benouville and Gustave Moreau. The Toilette of Esther was bequeathed to the Louvre in 1934 by Baron Arthur Chassériau, a distant relative of the artist, as part of a donation that included most of the artist's work in his possession.

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


The Toilette of Esther

Prompt: In The Toilette of Esther, how is the Exoticism discussed?

The choice of an Old Testament story about a young woman in a harem freed Chassériau to take advantage of Orientalist and Romantic elements. The presence of Asian figures and sumptuous jewelry serves to further eroticize Esther's figure. Having previously painted a Birth of Venus and a Susanna and the Elders, Chassériau found another theme which permitted a frankly sexual presentation of the female body. The painting was not fully understood when first exhibited at the Paris Salon of 1842. If the critics recognized an insipidness in Esther's expression—one journalist complained "But why that elongated figure, those wild eyes, that savage look? There is no soul under that face..."—they failed to properly appreciate the originality of a biblical story re-imagined in an erotic, Romantic fashion. The painting would later inspire painters such as François-Léon Benouville and Gustave Moreau. The Toilette of Esther was bequeathed to the Louvre in 1934 by Baron Arthur Chassériau, a distant relative of the artist, as part of a donation that included most of the artist's work in his possession.

Category:Paintings by Théodore Chassériau

Category:Paintings in the Louvre by French artists

File:Le Bain Turc, by Jean Auguste Dominique Ingres, from C2RMF retouched.jpg


Prompt: Focus on Statue of Giuseppe Garibaldi (New York City) and explain the abstract.

An outdoor bronze sculpture of Giuseppe Garibaldi, one of the leaders of Italian unification, is installed in Washington Square Park in Manhattan, New York.

Category:Monuments and memorials in Manhattan

Category:Cultural depictions of Giuseppe Garibaldi

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks & Recreation

Category:1888 establishments in New York City


Prompt: Explain the abstract of this artwork, Statue of Giuseppe Garibaldi (New York City).

An outdoor bronze sculpture of Giuseppe Garibaldi, one of the leaders of Italian unification, is installed in Washington Square Park in Manhattan, New York.

Category:Monuments and memorials in Manhattan

Category:Cultural depictions of Giuseppe Garibaldi

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks & Recreation

Category:1888 establishments in New York City


Prompt: How does Statue of Giuseppe Garibaldi (New York City) explain its abstract?

An outdoor bronze sculpture of Giuseppe Garibaldi, one of the leaders of Italian unification, is installed in Washington Square Park in Manhattan, New York.

Category:Monuments and memorials in Manhattan

Category:Cultural depictions of Giuseppe Garibaldi

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks & Recreation

Category:1888 establishments in New York City


Prompt: In Statue of Giuseppe Garibaldi (New York City), how is the abstract discussed?

An outdoor bronze sculpture of Giuseppe Garibaldi, one of the leaders of Italian unification, is installed in Washington Square Park in Manhattan, New York.

Category:Monuments and memorials in Manhattan

Category:Cultural depictions of Giuseppe Garibaldi

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks & Recreation

Category:1888 establishments in New York City


Prompt: Focus on Statue of Giuseppe Garibaldi (New York City) and explain the Description and history.

The statue and its granite pedestal were created by Giovanni Turini upon the organization of the editors of the newspaper Il Progresso Italo-Americano to raise funds to commemorate Garibaldi after his death. Turini was a volunteer member of Garibaldi's Fourth Regiment in the campaign against Austria in 1866. The statue was dedicated on June 4, 1888.In 1970, in order to construct a new promenade through the park, the statue was moved fifteen feet to the east. During its movement, a glass vessel from the 1880s was discovered beneath the statue containing newspaper articles of Garibaldi's death, a history of the Committee for the Monument of Garibaldi, and poster and news clippings describing the statue's dedication.

Category:Monuments and memorials in Manhattan

Category:Cultural depictions of Giuseppe Garibaldi

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks & Recreation

Category:1888 establishments in New York City


Prompt: Explain the Description and history of this artwork, Statue of Giuseppe Garibaldi (New York City).

The statue and its granite pedestal were created by Giovanni Turini upon the organization of the editors of the newspaper Il Progresso Italo-Americano to raise funds to commemorate Garibaldi after his death. Turini was a volunteer member of Garibaldi's Fourth Regiment in the campaign against Austria in 1866. The statue was dedicated on June 4, 1888.In 1970, in order to construct a new promenade through the park, the statue was moved fifteen feet to the east. During its movement, a glass vessel from the 1880s was discovered beneath the statue containing newspaper articles of Garibaldi's death, a history of the Committee for the Monument of Garibaldi, and poster and news clippings describing the statue's dedication.

Category:Monuments and memorials in Manhattan

Category:Cultural depictions of Giuseppe Garibaldi

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks & Recreation

Category:1888 establishments in New York City


Prompt: How does Statue of Giuseppe Garibaldi (New York City) explain its Description and history?

The statue and its granite pedestal were created by Giovanni Turini upon the organization of the editors of the newspaper Il Progresso Italo-Americano to raise funds to commemorate Garibaldi after his death. Turini was a volunteer member of Garibaldi's Fourth Regiment in the campaign against Austria in 1866. The statue was dedicated on June 4, 1888.In 1970, in order to construct a new promenade through the park, the statue was moved fifteen feet to the east. During its movement, a glass vessel from the 1880s was discovered beneath the statue containing newspaper articles of Garibaldi's death, a history of the Committee for the Monument of Garibaldi, and poster and news clippings describing the statue's dedication.

Category:Monuments and memorials in Manhattan

Category:Cultural depictions of Giuseppe Garibaldi

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks & Recreation

Category:1888 establishments in New York City


Prompt: In Statue of Giuseppe Garibaldi (New York City), how is the Description and history discussed?

The statue and its granite pedestal were created by Giovanni Turini upon the organization of the editors of the newspaper Il Progresso Italo-Americano to raise funds to commemorate Garibaldi after his death. Turini was a volunteer member of Garibaldi's Fourth Regiment in the campaign against Austria in 1866. The statue was dedicated on June 4, 1888.In 1970, in order to construct a new promenade through the park, the statue was moved fifteen feet to the east. During its movement, a glass vessel from the 1880s was discovered beneath the statue containing newspaper articles of Garibaldi's death, a history of the Committee for the Monument of Garibaldi, and poster and news clippings describing the statue's dedication.

Category:Monuments and memorials in Manhattan

Category:Cultural depictions of Giuseppe Garibaldi

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

New York City Department of Parks & Recreation

Category:1888 establishments in New York City


Statue of Lenin at Finland Station

Prompt: Focus on Statue of Lenin at Finland Station and explain the abstract.

The statue of Lenin at Finland Station in Saint Petersburg is one of the most famous statues of Vladimir Lenin in Russia.  Erected in 1926, it was one of the first large-scale statues of Lenin, being completed within three years of his death.  It depicts the man making a speech from atop an armoured car, soon after his 1917 arrival at the station from exile abroad.  It was designed in an early constructivist style by sculptor Sergei A. Evseev and architects Vladimir Shchuko and Vladimir Helfreich.  The style and pose of the statue were imitated by later works.  The statue is one of few in Saint Petersburg that survived after the fall of the Soviet Union.  It was damaged in a 2009 bomb attack but has since been repaired.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: Explain the abstract of this artwork, Statue of Lenin at Finland Station.

The statue of Lenin at Finland Station in Saint Petersburg is one of the most famous statues of Vladimir Lenin in Russia.  Erected in 1926, it was one of the first large-scale statues of Lenin, being completed within three years of his death.  It depicts the man making a speech from atop an armoured car, soon after his 1917 arrival at the station from exile abroad.  It was designed in an early constructivist style by sculptor Sergei A. Evseev and architects Vladimir Shchuko and Vladimir Helfreich.  The style and pose of the statue were imitated by later works.  The statue is one of few in Saint Petersburg that survived after the fall of the Soviet Union.  It was damaged in a 2009 bomb attack but has since been repaired.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: How does Statue of Lenin at Finland Station explain its abstract?

The statue of Lenin at Finland Station in Saint Petersburg is one of the most famous statues of Vladimir Lenin in Russia.  Erected in 1926, it was one of the first large-scale statues of Lenin, being completed within three years of his death.  It depicts the man making a speech from atop an armoured car, soon after his 1917 arrival at the station from exile abroad.  It was designed in an early constructivist style by sculptor Sergei A. Evseev and architects Vladimir Shchuko and Vladimir Helfreich.  The style and pose of the statue were imitated by later works.  The statue is one of few in Saint Petersburg that survived after the fall of the Soviet Union.  It was damaged in a 2009 bomb attack but has since been repaired.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: In Statue of Lenin at Finland Station, how is the abstract discussed?

The statue of Lenin at Finland Station in Saint Petersburg is one of the most famous statues of Vladimir Lenin in Russia.  Erected in 1926, it was one of the first large-scale statues of Lenin, being completed within three years of his death.  It depicts the man making a speech from atop an armoured car, soon after his 1917 arrival at the station from exile abroad.  It was designed in an early constructivist style by sculptor Sergei A. Evseev and architects Vladimir Shchuko and Vladimir Helfreich.  The style and pose of the statue were imitated by later works.  The statue is one of few in Saint Petersburg that survived after the fall of the Soviet Union.  It was damaged in a 2009 bomb attack but has since been repaired.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: Focus on Statue of Lenin at Finland Station and explain the Lenin at Finland Station.

Russian revolutionary leader Vladimir Lenin had been living in exile in Switzerland during the First World War.  After the February Revolution he was permitted by the German authorities to travel via sealed train across German territory, take a ferry to Helsinki and thence a train to Petrograd, as Saint Petersburg was then known.   Arriving at the city's Finland Station he was met by a crowd of Bolshevik sympathisers and climbed onto the turret of an armoured car.  He rode the car to the Bolshevik headquarters at the Kshesinskaya Palace and delivered a speech in favour of Bolshevism and denouncing the moderate Mensheviks and Socialist Revolutionary Party.  After the Russian Civil War, Lenin led the communist Soviet Union, but died of a stroke on 21 January 1924.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: Explain the Lenin at Finland Station of this artwork, Statue of Lenin at Finland Station.

Russian revolutionary leader Vladimir Lenin had been living in exile in Switzerland during the First World War.  After the February Revolution he was permitted by the German authorities to travel via sealed train across German territory, take a ferry to Helsinki and thence a train to Petrograd, as Saint Petersburg was then known.   Arriving at the city's Finland Station he was met by a crowd of Bolshevik sympathisers and climbed onto the turret of an armoured car.  He rode the car to the Bolshevik headquarters at the Kshesinskaya Palace and delivered a speech in favour of Bolshevism and denouncing the moderate Mensheviks and Socialist Revolutionary Party.  After the Russian Civil War, Lenin led the communist Soviet Union, but died of a stroke on 21 January 1924.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: How does Statue of Lenin at Finland Station explain its Lenin at Finland Station?

Russian revolutionary leader Vladimir Lenin had been living in exile in Switzerland during the First World War.  After the February Revolution he was permitted by the German authorities to travel via sealed train across German territory, take a ferry to Helsinki and thence a train to Petrograd, as Saint Petersburg was then known.   Arriving at the city's Finland Station he was met by a crowd of Bolshevik sympathisers and climbed onto the turret of an armoured car.  He rode the car to the Bolshevik headquarters at the Kshesinskaya Palace and delivered a speech in favour of Bolshevism and denouncing the moderate Mensheviks and Socialist Revolutionary Party.  After the Russian Civil War, Lenin led the communist Soviet Union, but died of a stroke on 21 January 1924.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: In Statue of Lenin at Finland Station, how is the Lenin at Finland Station discussed?

Russian revolutionary leader Vladimir Lenin had been living in exile in Switzerland during the First World War.  After the February Revolution he was permitted by the German authorities to travel via sealed train across German territory, take a ferry to Helsinki and thence a train to Petrograd, as Saint Petersburg was then known.   Arriving at the city's Finland Station he was met by a crowd of Bolshevik sympathisers and climbed onto the turret of an armoured car.  He rode the car to the Bolshevik headquarters at the Kshesinskaya Palace and delivered a speech in favour of Bolshevism and denouncing the moderate Mensheviks and Socialist Revolutionary Party.  After the Russian Civil War, Lenin led the communist Soviet Union, but died of a stroke on 21 January 1924.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: Focus on Statue of Lenin at Finland Station and explain the Statue.

The statue, erected in 1926, is one of the first largescale statues of Lenin erected in the Soviet Union, though it is predated by one in Volgograd.  The statue depicts Lenin in the act of making a speech from atop the armoured car.  The statue was created in an early constructivist style by sculptor Sergei A. Evseev and architects Vladimir Shchuko and V.G. Gelfreich.  The figure is made of bronze while the plinth, representing the armoured car, is of stone.The statue depicts Lenin in a suit and tie with waistcoat and overcoat, clothing associated with his later position as leader of the Soviet Union, rather than his 1917 attire as a revolutionary leader.  As with other depictions of Lenin from this period he is depicted bareheaded (his hat is shown tucked into the right-hand pocket of the overcoat).  Lenin is depicted with his right arm raised to shoulder height, palm forwards and thumb upraised.  This "taxi-hailing" pose is common to many Lenin statues, though Berkeley Professor Laura Bonnell states that this depiction differs from later versions in that Lenin's arm is used to indicate a directional movement, rather than offering a benediction to the masses.  The statue's left hand holds the lapels of Lenin's overcoat and suit jacket.  The monument is described by Oxford Professor Penelope Curtis as the "first important monument" of Lenin and establishing a style that has been much repeated by later statues.  Joseph Brodsky thought the statue the first ever to depict a person on top of an armoured car and compared it to the tradition of equestrian statues of previous leaders.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: Explain the Statue of this artwork, Statue of Lenin at Finland Station.

The statue, erected in 1926, is one of the first largescale statues of Lenin erected in the Soviet Union, though it is predated by one in Volgograd.  The statue depicts Lenin in the act of making a speech from atop the armoured car.  The statue was created in an early constructivist style by sculptor Sergei A. Evseev and architects Vladimir Shchuko and V.G. Gelfreich.  The figure is made of bronze while the plinth, representing the armoured car, is of stone.The statue depicts Lenin in a suit and tie with waistcoat and overcoat, clothing associated with his later position as leader of the Soviet Union, rather than his 1917 attire as a revolutionary leader.  As with other depictions of Lenin from this period he is depicted bareheaded (his hat is shown tucked into the right-hand pocket of the overcoat).  Lenin is depicted with his right arm raised to shoulder height, palm forwards and thumb upraised.  This "taxi-hailing" pose is common to many Lenin statues, though Berkeley Professor Laura Bonnell states that this depiction differs from later versions in that Lenin's arm is used to indicate a directional movement, rather than offering a benediction to the masses.  The statue's left hand holds the lapels of Lenin's overcoat and suit jacket.  The monument is described by Oxford Professor Penelope Curtis as the "first important monument" of Lenin and establishing a style that has been much repeated by later statues.  Joseph Brodsky thought the statue the first ever to depict a person on top of an armoured car and compared it to the tradition of equestrian statues of previous leaders.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: How does Statue of Lenin at Finland Station explain its Statue?

The statue, erected in 1926, is one of the first largescale statues of Lenin erected in the Soviet Union, though it is predated by one in Volgograd.  The statue depicts Lenin in the act of making a speech from atop the armoured car.  The statue was created in an early constructivist style by sculptor Sergei A. Evseev and architects Vladimir Shchuko and V.G. Gelfreich.  The figure is made of bronze while the plinth, representing the armoured car, is of stone.The statue depicts Lenin in a suit and tie with waistcoat and overcoat, clothing associated with his later position as leader of the Soviet Union, rather than his 1917 attire as a revolutionary leader.  As with other depictions of Lenin from this period he is depicted bareheaded (his hat is shown tucked into the right-hand pocket of the overcoat).  Lenin is depicted with his right arm raised to shoulder height, palm forwards and thumb upraised.  This "taxi-hailing" pose is common to many Lenin statues, though Berkeley Professor Laura Bonnell states that this depiction differs from later versions in that Lenin's arm is used to indicate a directional movement, rather than offering a benediction to the masses.  The statue's left hand holds the lapels of Lenin's overcoat and suit jacket.  The monument is described by Oxford Professor Penelope Curtis as the "first important monument" of Lenin and establishing a style that has been much repeated by later statues.  Joseph Brodsky thought the statue the first ever to depict a person on top of an armoured car and compared it to the tradition of equestrian statues of previous leaders.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: In Statue of Lenin at Finland Station, how is the Statue discussed?

The statue, erected in 1926, is one of the first largescale statues of Lenin erected in the Soviet Union, though it is predated by one in Volgograd.  The statue depicts Lenin in the act of making a speech from atop the armoured car.  The statue was created in an early constructivist style by sculptor Sergei A. Evseev and architects Vladimir Shchuko and V.G. Gelfreich.  The figure is made of bronze while the plinth, representing the armoured car, is of stone.The statue depicts Lenin in a suit and tie with waistcoat and overcoat, clothing associated with his later position as leader of the Soviet Union, rather than his 1917 attire as a revolutionary leader.  As with other depictions of Lenin from this period he is depicted bareheaded (his hat is shown tucked into the right-hand pocket of the overcoat).  Lenin is depicted with his right arm raised to shoulder height, palm forwards and thumb upraised.  This "taxi-hailing" pose is common to many Lenin statues, though Berkeley Professor Laura Bonnell states that this depiction differs from later versions in that Lenin's arm is used to indicate a directional movement, rather than offering a benediction to the masses.  The statue's left hand holds the lapels of Lenin's overcoat and suit jacket.  The monument is described by Oxford Professor Penelope Curtis as the "first important monument" of Lenin and establishing a style that has been much repeated by later statues.  Joseph Brodsky thought the statue the first ever to depict a person on top of an armoured car and compared it to the tradition of equestrian statues of previous leaders.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: Focus on Statue of Lenin at Finland Station and explain the History.

The statue was unveiled on 7 November 1926.  It originally stood in a small square in front of the station, it was moved to a new position when the square was remodelled after the Second World War and a new, larger Lenin Square was created.  It faces across the square toward the River Neva and the Bolshoy Dom, formerly the headquarters of the KGB in the city and now used by the Federal Security Service.  By 1979 every station in Leningrad (Petrograd had been renamed again five days after Lenin's death) had a statue or bust of Lenin.  After the fall of the Soviet Union in 1991 the majority of these were torn down; the Finland Station statue is one of the few that remain and is one of the most famous in the country. At 4.30am on 1 April 2009 the statue was attacked by a bomb.  A hole measuring 80–100 centimetres (31–39 in) was blown in the buttocks of the statue.  The attackers were never caught.  The statue was taken away for repair and reinstalled in April 2010.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: Explain the History of this artwork, Statue of Lenin at Finland Station.

The statue was unveiled on 7 November 1926.  It originally stood in a small square in front of the station, it was moved to a new position when the square was remodelled after the Second World War and a new, larger Lenin Square was created.  It faces across the square toward the River Neva and the Bolshoy Dom, formerly the headquarters of the KGB in the city and now used by the Federal Security Service.  By 1979 every station in Leningrad (Petrograd had been renamed again five days after Lenin's death) had a statue or bust of Lenin.  After the fall of the Soviet Union in 1991 the majority of these were torn down; the Finland Station statue is one of the few that remain and is one of the most famous in the country. At 4.30am on 1 April 2009 the statue was attacked by a bomb.  A hole measuring 80–100 centimetres (31–39 in) was blown in the buttocks of the statue.  The attackers were never caught.  The statue was taken away for repair and reinstalled in April 2010.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: How does Statue of Lenin at Finland Station explain its History?

The statue was unveiled on 7 November 1926.  It originally stood in a small square in front of the station, it was moved to a new position when the square was remodelled after the Second World War and a new, larger Lenin Square was created.  It faces across the square toward the River Neva and the Bolshoy Dom, formerly the headquarters of the KGB in the city and now used by the Federal Security Service.  By 1979 every station in Leningrad (Petrograd had been renamed again five days after Lenin's death) had a statue or bust of Lenin.  After the fall of the Soviet Union in 1991 the majority of these were torn down; the Finland Station statue is one of the few that remain and is one of the most famous in the country. At 4.30am on 1 April 2009 the statue was attacked by a bomb.  A hole measuring 80–100 centimetres (31–39 in) was blown in the buttocks of the statue.  The attackers were never caught.  The statue was taken away for repair and reinstalled in April 2010.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


Statue of Lenin at Finland Station

Prompt: In Statue of Lenin at Finland Station, how is the History discussed?

The statue was unveiled on 7 November 1926.  It originally stood in a small square in front of the station, it was moved to a new position when the square was remodelled after the Second World War and a new, larger Lenin Square was created.  It faces across the square toward the River Neva and the Bolshoy Dom, formerly the headquarters of the KGB in the city and now used by the Federal Security Service.  By 1979 every station in Leningrad (Petrograd had been renamed again five days after Lenin's death) had a statue or bust of Lenin.  After the fall of the Soviet Union in 1991 the majority of these were torn down; the Finland Station statue is one of the few that remain and is one of the most famous in the country. At 4.30am on 1 April 2009 the statue was attacked by a bomb.  A hole measuring 80–100 centimetres (31–39 in) was blown in the buttocks of the statue.  The attackers were never caught.  The statue was taken away for repair and reinstalled in April 2010.

Category:Monuments and memorials to Vladimir Lenin

Category:Cultural heritage monuments of federal significance in Saint Petersburg

Category:Outdoor sculptures in Saint Petersburg

File:The eve of October (speech VI Lenin at the Finland station).jpg

A depiction of Lenin speaking from atop an armoured car that inspired the statue

Mikhailovskaya Military Artillery Academy

Category:Monuments and memorials in Saint Petersburg


The Bathers (Gleizes)

Prompt: Focus on The Bathers (Gleizes) and explain the abstract.

The Bathers (French: Les Baigneuses) is a large oil painting created at the outset of 1912 by the French artist Albert Gleizes. It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, autumn 1912. The painting was reproduced in Du "Cubisme", written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. Les Baigneuses, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or group. Gleizes deploys these techniques in "a radical, personal and coherent manner". Purchased in 1937, the painting is exhibited in the permanent collection of the Musée d'Art Moderne de la Ville de Paris.

File:Baigneuses, par Paul Cézanne, Metropolitan Museum of Art.jpg

File:Nude woman washing face, animated from Animal locomotion, Vol. IV, Plate 413 by Eadweard Muybridge.gif

A Sunday Afternoon on the Island of La Grande Jatte

File:La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg

File:Les Grandes Baigneuses, par Paul Cézanne, National Gallery, Yorck.jpg

File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg

File:Jean Metzinger, L'Oiseau Bleu (left), André Lhote, two works (center), Albert Gleizes, Baigneuse (right), Musée d'Art Moderne de la Ville de Paris.jpg

Albert Gleizes, 1912, ''Les Baigneuses, The Bathers'', (left) vs. [[Courbevoie

File:Eadweard Muybridge, Plate 187 – Dancing, fancy, no. 12, Miss Larrigan.jpg

Category:Paintings in the Musée d'Art Moderne de Paris

La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes' ''[[Portrait de l’éditeur Eugène Figuière (Gleizes)

Jean Metzinger, ''[[L'Oiseau bleu (Metzinger)

File:Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg

Albert Gleizes, 1911, ''Dessin pour les Baigneuses'', published in ''La Revue de France et des pays français'', February - March 1912

Albert Gleizes, 1912, ''Les Baigneuses''

File:Albert Gleizes, 1912, Les Baigneuses (The Bathers) vs. Courbevoie, ca.1912, Les Bord de Seine, L'Ile de la Jatte.jpg

Albert Gleizes, 1911, ''Le Chemin, Paysage à Meudon, Paysage avec personnage'', oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, [[Galeries Dalmau


The Bathers (Gleizes)

Prompt: Explain the abstract of this artwork, The Bathers (Gleizes).

The Bathers (French: Les Baigneuses) is a large oil painting created at the outset of 1912 by the French artist Albert Gleizes. It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, autumn 1912. The painting was reproduced in Du "Cubisme", written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. Les Baigneuses, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or group. Gleizes deploys these techniques in "a radical, personal and coherent manner". Purchased in 1937, the painting is exhibited in the permanent collection of the Musée d'Art Moderne de la Ville de Paris.

File:Baigneuses, par Paul Cézanne, Metropolitan Museum of Art.jpg

File:Nude woman washing face, animated from Animal locomotion, Vol. IV, Plate 413 by Eadweard Muybridge.gif

A Sunday Afternoon on the Island of La Grande Jatte

File:La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg

File:Les Grandes Baigneuses, par Paul Cézanne, National Gallery, Yorck.jpg

File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg

File:Jean Metzinger, L'Oiseau Bleu (left), André Lhote, two works (center), Albert Gleizes, Baigneuse (right), Musée d'Art Moderne de la Ville de Paris.jpg

Albert Gleizes, 1912, ''Les Baigneuses, The Bathers'', (left) vs. [[Courbevoie

File:Eadweard Muybridge, Plate 187 – Dancing, fancy, no. 12, Miss Larrigan.jpg

Category:Paintings in the Musée d'Art Moderne de Paris

La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes' ''[[Portrait de l’éditeur Eugène Figuière (Gleizes)

Jean Metzinger, ''[[L'Oiseau bleu (Metzinger)

File:Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg

Albert Gleizes, 1911, ''Dessin pour les Baigneuses'', published in ''La Revue de France et des pays français'', February - March 1912

Albert Gleizes, 1912, ''Les Baigneuses''

File:Albert Gleizes, 1912, Les Baigneuses (The Bathers) vs. Courbevoie, ca.1912, Les Bord de Seine, L'Ile de la Jatte.jpg

Albert Gleizes, 1911, ''Le Chemin, Paysage à Meudon, Paysage avec personnage'', oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, [[Galeries Dalmau


The Bathers (Gleizes)

Prompt: How does The Bathers (Gleizes) explain its abstract?

The Bathers (French: Les Baigneuses) is a large oil painting created at the outset of 1912 by the French artist Albert Gleizes. It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, autumn 1912. The painting was reproduced in Du "Cubisme", written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. Les Baigneuses, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or group. Gleizes deploys these techniques in "a radical, personal and coherent manner". Purchased in 1937, the painting is exhibited in the permanent collection of the Musée d'Art Moderne de la Ville de Paris.

File:Baigneuses, par Paul Cézanne, Metropolitan Museum of Art.jpg

File:Nude woman washing face, animated from Animal locomotion, Vol. IV, Plate 413 by Eadweard Muybridge.gif

A Sunday Afternoon on the Island of La Grande Jatte

File:La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg

File:Les Grandes Baigneuses, par Paul Cézanne, National Gallery, Yorck.jpg

File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg

File:Jean Metzinger, L'Oiseau Bleu (left), André Lhote, two works (center), Albert Gleizes, Baigneuse (right), Musée d'Art Moderne de la Ville de Paris.jpg

Albert Gleizes, 1912, ''Les Baigneuses, The Bathers'', (left) vs. [[Courbevoie

File:Eadweard Muybridge, Plate 187 – Dancing, fancy, no. 12, Miss Larrigan.jpg

Category:Paintings in the Musée d'Art Moderne de Paris

La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes' ''[[Portrait de l’éditeur Eugène Figuière (Gleizes)

Jean Metzinger, ''[[L'Oiseau bleu (Metzinger)

File:Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg

Albert Gleizes, 1911, ''Dessin pour les Baigneuses'', published in ''La Revue de France et des pays français'', February - March 1912

Albert Gleizes, 1912, ''Les Baigneuses''

File:Albert Gleizes, 1912, Les Baigneuses (The Bathers) vs. Courbevoie, ca.1912, Les Bord de Seine, L'Ile de la Jatte.jpg

Albert Gleizes, 1911, ''Le Chemin, Paysage à Meudon, Paysage avec personnage'', oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, [[Galeries Dalmau


The Bathers (Gleizes)

Prompt: In The Bathers (Gleizes), how is the abstract discussed?

The Bathers (French: Les Baigneuses) is a large oil painting created at the outset of 1912 by the French artist Albert Gleizes. It was exhibited at the Salon des Indépendants in Paris during the spring of 1912; the Salon de la Société Normande de Peinture Moderne, Rouen, summer 1912; and the Salon de la Section d'Or, autumn 1912. The painting was reproduced in Du "Cubisme", written by Albert Gleizes and Jean Metzinger the same year: the first and only manifesto on Cubism. Les Baigneuses, while still 'readable' in the figurative or representational sense, exemplifies the mobile, dynamic fragmentation of form and multiple perspective characteristic of Cubism at the outset of 1912. Highly sophisticated, both in theory and in practice, this aspect of simultaneity would soon become identified with the practices of the Section d'Or group. Gleizes deploys these techniques in "a radical, personal and coherent manner". Purchased in 1937, the painting is exhibited in the permanent collection of the Musée d'Art Moderne de la Ville de Paris.

File:Baigneuses, par Paul Cézanne, Metropolitan Museum of Art.jpg

File:Nude woman washing face, animated from Animal locomotion, Vol. IV, Plate 413 by Eadweard Muybridge.gif

A Sunday Afternoon on the Island of La Grande Jatte

File:La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg

File:Les Grandes Baigneuses, par Paul Cézanne, National Gallery, Yorck.jpg

File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg

File:Jean Metzinger, L'Oiseau Bleu (left), André Lhote, two works (center), Albert Gleizes, Baigneuse (right), Musée d'Art Moderne de la Ville de Paris.jpg

Albert Gleizes, 1912, ''Les Baigneuses, The Bathers'', (left) vs. [[Courbevoie

File:Eadweard Muybridge, Plate 187 – Dancing, fancy, no. 12, Miss Larrigan.jpg

Category:Paintings in the Musée d'Art Moderne de Paris

La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes' ''[[Portrait de l’éditeur Eugène Figuière (Gleizes)

Jean Metzinger, ''[[L'Oiseau bleu (Metzinger)

File:Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg

Albert Gleizes, 1911, ''Dessin pour les Baigneuses'', published in ''La Revue de France et des pays français'', February - March 1912

Albert Gleizes, 1912, ''Les Baigneuses''

File:Albert Gleizes, 1912, Les Baigneuses (The Bathers) vs. Courbevoie, ca.1912, Les Bord de Seine, L'Ile de la Jatte.jpg

Albert Gleizes, 1911, ''Le Chemin, Paysage à Meudon, Paysage avec personnage'', oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, [[Galeries Dalmau


The Bathers (Gleizes)

Prompt: Focus on The Bathers (Gleizes) and explain the Description.

Les Baigneuses is an oil painting on canvas with dimensions 105 x 171 cm (41.3 by 67.3 inches), signed Albert Gleizes and dated 1912, lower left. This work, painted at the outset of 1912, represents a series of naked elegant women at various points in the landscape foreground, their reflections along with the blue of the sky echoing off the water at the lower edge of the canvas. Beyond the bathers can be observed protruding rock-like formations or boulders—with highlights of primary color—that appear to espouse elements of the foreground. Above these cliffs are found several deciduous woody plants of the genus Populus. Though native to many areas of the Northern Hemisphere, the Poplar, with its fastigiate branches tapered towards the top, is especially iconic of the western suburbs of Paris (la banlieue ouest) where Gleizes lived, 24 Avenue Gambetta, Courbevoie. The Gleizes family moved to Avenue Gambetta in 1887. Towards the end of the 19th century and extending through the early 20th century, Courbevoie witnessed a rapid growth in population, and a surge in the development of crafts, industry and transport (including rail). Such a scene of naked bathers actually occurring would have been highly unlikely in Courbevoie, or anywhere else near the Parisian capital.

File:Baigneuses, par Paul Cézanne, Metropolitan Museum of Art.jpg

File:Nude woman washing face, animated from Animal locomotion, Vol. IV, Plate 413 by Eadweard Muybridge.gif

A Sunday Afternoon on the Island of La Grande Jatte

File:La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg

File:Les Grandes Baigneuses, par Paul Cézanne, National Gallery, Yorck.jpg

File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg

File:Jean Metzinger, L'Oiseau Bleu (left), André Lhote, two works (center), Albert Gleizes, Baigneuse (right), Musée d'Art Moderne de la Ville de Paris.jpg

Albert Gleizes, 1912, ''Les Baigneuses, The Bathers'', (left) vs. [[Courbevoie

File:Eadweard Muybridge, Plate 187 – Dancing, fancy, no. 12, Miss Larrigan.jpg

Category:Paintings in the Musée d'Art Moderne de Paris

La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes' ''[[Portrait de l’éditeur Eugène Figuière (Gleizes)

Jean Metzinger, ''[[L'Oiseau bleu (Metzinger)

File:Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg

Albert Gleizes, 1911, ''Dessin pour les Baigneuses'', published in ''La Revue de France et des pays français'', February - March 1912

Albert Gleizes, 1912, ''Les Baigneuses''

File:Albert Gleizes, 1912, Les Baigneuses (The Bathers) vs. Courbevoie, ca.1912, Les Bord de Seine, L'Ile de la Jatte.jpg

Albert Gleizes, 1911, ''Le Chemin, Paysage à Meudon, Paysage avec personnage'', oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, [[Galeries Dalmau


The Bathers (Gleizes)

Prompt: Explain the Description of this artwork, The Bathers (Gleizes).

Les Baigneuses is an oil painting on canvas with dimensions 105 x 171 cm (41.3 by 67.3 inches), signed Albert Gleizes and dated 1912, lower left. This work, painted at the outset of 1912, represents a series of naked elegant women at various points in the landscape foreground, their reflections along with the blue of the sky echoing off the water at the lower edge of the canvas. Beyond the bathers can be observed protruding rock-like formations or boulders—with highlights of primary color—that appear to espouse elements of the foreground. Above these cliffs are found several deciduous woody plants of the genus Populus. Though native to many areas of the Northern Hemisphere, the Poplar, with its fastigiate branches tapered towards the top, is especially iconic of the western suburbs of Paris (la banlieue ouest) where Gleizes lived, 24 Avenue Gambetta, Courbevoie. The Gleizes family moved to Avenue Gambetta in 1887. Towards the end of the 19th century and extending through the early 20th century, Courbevoie witnessed a rapid growth in population, and a surge in the development of crafts, industry and transport (including rail). Such a scene of naked bathers actually occurring would have been highly unlikely in Courbevoie, or anywhere else near the Parisian capital.

File:Baigneuses, par Paul Cézanne, Metropolitan Museum of Art.jpg

File:Nude woman washing face, animated from Animal locomotion, Vol. IV, Plate 413 by Eadweard Muybridge.gif

A Sunday Afternoon on the Island of La Grande Jatte

File:La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg

File:Les Grandes Baigneuses, par Paul Cézanne, National Gallery, Yorck.jpg

File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg

File:Jean Metzinger, L'Oiseau Bleu (left), André Lhote, two works (center), Albert Gleizes, Baigneuse (right), Musée d'Art Moderne de la Ville de Paris.jpg

Albert Gleizes, 1912, ''Les Baigneuses, The Bathers'', (left) vs. [[Courbevoie

File:Eadweard Muybridge, Plate 187 – Dancing, fancy, no. 12, Miss Larrigan.jpg

Category:Paintings in the Musée d'Art Moderne de Paris

La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes' ''[[Portrait de l’éditeur Eugène Figuière (Gleizes)

Jean Metzinger, ''[[L'Oiseau bleu (Metzinger)

File:Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg

Albert Gleizes, 1911, ''Dessin pour les Baigneuses'', published in ''La Revue de France et des pays français'', February - March 1912

Albert Gleizes, 1912, ''Les Baigneuses''

File:Albert Gleizes, 1912, Les Baigneuses (The Bathers) vs. Courbevoie, ca.1912, Les Bord de Seine, L'Ile de la Jatte.jpg

Albert Gleizes, 1911, ''Le Chemin, Paysage à Meudon, Paysage avec personnage'', oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, [[Galeries Dalmau


The Bathers (Gleizes)

Prompt: How does The Bathers (Gleizes) explain its Description?

Les Baigneuses is an oil painting on canvas with dimensions 105 x 171 cm (41.3 by 67.3 inches), signed Albert Gleizes and dated 1912, lower left. This work, painted at the outset of 1912, represents a series of naked elegant women at various points in the landscape foreground, their reflections along with the blue of the sky echoing off the water at the lower edge of the canvas. Beyond the bathers can be observed protruding rock-like formations or boulders—with highlights of primary color—that appear to espouse elements of the foreground. Above these cliffs are found several deciduous woody plants of the genus Populus. Though native to many areas of the Northern Hemisphere, the Poplar, with its fastigiate branches tapered towards the top, is especially iconic of the western suburbs of Paris (la banlieue ouest) where Gleizes lived, 24 Avenue Gambetta, Courbevoie. The Gleizes family moved to Avenue Gambetta in 1887. Towards the end of the 19th century and extending through the early 20th century, Courbevoie witnessed a rapid growth in population, and a surge in the development of crafts, industry and transport (including rail). Such a scene of naked bathers actually occurring would have been highly unlikely in Courbevoie, or anywhere else near the Parisian capital.

File:Baigneuses, par Paul Cézanne, Metropolitan Museum of Art.jpg

File:Nude woman washing face, animated from Animal locomotion, Vol. IV, Plate 413 by Eadweard Muybridge.gif

A Sunday Afternoon on the Island of La Grande Jatte

File:La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg

File:Les Grandes Baigneuses, par Paul Cézanne, National Gallery, Yorck.jpg

File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg

File:Jean Metzinger, L'Oiseau Bleu (left), André Lhote, two works (center), Albert Gleizes, Baigneuse (right), Musée d'Art Moderne de la Ville de Paris.jpg

Albert Gleizes, 1912, ''Les Baigneuses, The Bathers'', (left) vs. [[Courbevoie

File:Eadweard Muybridge, Plate 187 – Dancing, fancy, no. 12, Miss Larrigan.jpg

Category:Paintings in the Musée d'Art Moderne de Paris

La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes' ''[[Portrait de l’éditeur Eugène Figuière (Gleizes)

Jean Metzinger, ''[[L'Oiseau bleu (Metzinger)

File:Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg

Albert Gleizes, 1911, ''Dessin pour les Baigneuses'', published in ''La Revue de France et des pays français'', February - March 1912

Albert Gleizes, 1912, ''Les Baigneuses''

File:Albert Gleizes, 1912, Les Baigneuses (The Bathers) vs. Courbevoie, ca.1912, Les Bord de Seine, L'Ile de la Jatte.jpg

Albert Gleizes, 1911, ''Le Chemin, Paysage à Meudon, Paysage avec personnage'', oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, [[Galeries Dalmau


The Bathers (Gleizes)

Prompt: In The Bathers (Gleizes), how is the Description discussed?

Les Baigneuses is an oil painting on canvas with dimensions 105 x 171 cm (41.3 by 67.3 inches), signed Albert Gleizes and dated 1912, lower left. This work, painted at the outset of 1912, represents a series of naked elegant women at various points in the landscape foreground, their reflections along with the blue of the sky echoing off the water at the lower edge of the canvas. Beyond the bathers can be observed protruding rock-like formations or boulders—with highlights of primary color—that appear to espouse elements of the foreground. Above these cliffs are found several deciduous woody plants of the genus Populus. Though native to many areas of the Northern Hemisphere, the Poplar, with its fastigiate branches tapered towards the top, is especially iconic of the western suburbs of Paris (la banlieue ouest) where Gleizes lived, 24 Avenue Gambetta, Courbevoie. The Gleizes family moved to Avenue Gambetta in 1887. Towards the end of the 19th century and extending through the early 20th century, Courbevoie witnessed a rapid growth in population, and a surge in the development of crafts, industry and transport (including rail). Such a scene of naked bathers actually occurring would have been highly unlikely in Courbevoie, or anywhere else near the Parisian capital.

File:Baigneuses, par Paul Cézanne, Metropolitan Museum of Art.jpg

File:Nude woman washing face, animated from Animal locomotion, Vol. IV, Plate 413 by Eadweard Muybridge.gif

A Sunday Afternoon on the Island of La Grande Jatte

File:La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg

File:Les Grandes Baigneuses, par Paul Cézanne, National Gallery, Yorck.jpg

File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg

File:Jean Metzinger, L'Oiseau Bleu (left), André Lhote, two works (center), Albert Gleizes, Baigneuse (right), Musée d'Art Moderne de la Ville de Paris.jpg

Albert Gleizes, 1912, ''Les Baigneuses, The Bathers'', (left) vs. [[Courbevoie

File:Eadweard Muybridge, Plate 187 – Dancing, fancy, no. 12, Miss Larrigan.jpg

Category:Paintings in the Musée d'Art Moderne de Paris

La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes' ''[[Portrait de l’éditeur Eugène Figuière (Gleizes)

Jean Metzinger, ''[[L'Oiseau bleu (Metzinger)

File:Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg

Albert Gleizes, 1911, ''Dessin pour les Baigneuses'', published in ''La Revue de France et des pays français'', February - March 1912

Albert Gleizes, 1912, ''Les Baigneuses''

File:Albert Gleizes, 1912, Les Baigneuses (The Bathers) vs. Courbevoie, ca.1912, Les Bord de Seine, L'Ile de la Jatte.jpg

Albert Gleizes, 1911, ''Le Chemin, Paysage à Meudon, Paysage avec personnage'', oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, [[Galeries Dalmau


The Bathers (Gleizes)

Prompt: In the context of The Bathers (Gleizes), explain the Optimistic reconciliation and the Description.

Les Baigneuses—as Robert Delaunay's 1912 City of Paris, and to some extent Jean Metzinger's 1913 Meudon Landscape—juxtaposes sharply contrasting elements. On the one hand the artist includes elements from a society in the process of inexorable industrialization, and on the other, the sereneness of timeless classical nude figures (something rarely painted by Gleizes, as Brooke points out). Yet the relationships between the two are formally resolved. This aspect of simultaneity—the optimistic reconciliation of classical tradition and contemporary life—was of particular interest to Gleizes, as it was to the Section d'Or group of Cubists (also known as the Passy group, or Puteaux group).The background forms a semi-urban landscape that possesses both rural and semi-industrial components, consistent with Courbevoie of the 1910s (except perhaps for the rock-like outcrops), a village or town with delicate smokestacks or factory chimneys billowing smoke that blends into the cloudy sky. Evidence that factories were already located on the Seine can be seen in Gleizes' Péniches et fumées à Courbevoie of 1908. The statuesque nudes themselves are highly stylized, divided into geometrized facets, planes and curves, yet they are graceful, balletic and elegant. The source of light, rather than beaming down from one particular direction, appears to emanate from within the canvas itself, with an intensification in the vicinity of the bathers.Gleizes painted L'île de la Jatte many times since 1901 and on at least five occasions between 1907 and 1912:1907–1909, L'île de la Grande Jatte ou Bord de parc avec rivière animée de canots, pastel pierre noire and ink on bistre paper, 25 × 41.5 cm, private collection1908, Péniches et fumées à Courbevoie, Crayon, ink and gouache on paper, 23 x 32.5 cm, Fondation Albert Gleizes (Paris)1908, L'île de la Grande Jatte, fusain and gouache on rose paper, 25 × 41.5 cm, Musée national d'art moderne (Paris)1908, La Seine près de Courbevoie, oil on canvas, 54 × 65 cm, Musée Roybet Fould (Courbevoie)1908, Barque à Courbevoie, fusain and chalk on paper, 30 x 38 cm, art market (Paris)The subject matter of Les Baigneuses, much as that of his monumental Harvest Threshing of the same year, is derived from an unsentimental observation of the world.Gleizes' interest centered on many things in the years leading up to 1912, one of which was the dynamic qualities of modern urban life. Les Baigneuses, depicts "a harmonious and balanced landscape in which industrial and urban elements are imbricated with the surrounding countryside;" writes Cottington in Cubism in the Shadow of War, "Poussinesque in its organizing geometry and Claudian in its specificity of place, this is the landscape not of Arcadia but of France as Gleizes wished it to be." Gleizes' formal innovations seen in this work are more closely related to the Salon Cubists (Jean Metzinger, Robert Delaunay, Henri Le Fauconnier and Fernand Léger) than to those of the Gallery Cubists (Pablo Picasso and Georges Braque).The gestures of the bathers in the 'foreground' and the whirls of chimney-smoke in the 'background' are unified expressively through "a timeless and purportedly natural order." While the subject was "explicit in its reference to latinist classicism" writes Cottington, "and implicit in its rejection of the avant-gardist challenge of the futurists to avoid the pictorial representation of the nude as inescapably passé", he continues, "the presence of emblems of industrialization, not juxtaposed but integrated with the rhythms of the landscape, marked a definite, if tentative, departure from the concerns he had shared with Le Fauconnier." Gleizes made use of fragmentation of form, multiple perspective views (i.e., mobile and dynamic, rather than static and from one point-of-view) along with linear and planar structural qualities. Though highly sophisticated in theory, this aspect of simultaneity would actually become quite commonly employed within the practices of the Section d'Or group. Gleizes deployed these techniques in "a radical, personal and coherent manner" (Cottington, 1998).

File:Baigneuses, par Paul Cézanne, Metropolitan Museum of Art.jpg

File:Nude woman washing face, animated from Animal locomotion, Vol. IV, Plate 413 by Eadweard Muybridge.gif

A Sunday Afternoon on the Island of La Grande Jatte

File:La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris.jpg

File:Les Grandes Baigneuses, par Paul Cézanne, National Gallery, Yorck.jpg

File:Albert Gleizes, 1912, Les Baigneuses, oil on canvas, 105 x 171 cm, Paris, Musée d'Art Moderne de la Ville de Paris.jpg

File:Jean Metzinger, L'Oiseau Bleu (left), André Lhote, two works (center), Albert Gleizes, Baigneuse (right), Musée d'Art Moderne de la Ville de Paris.jpg

Albert Gleizes, 1912, ''Les Baigneuses, The Bathers'', (left) vs. [[Courbevoie

File:Eadweard Muybridge, Plate 187 – Dancing, fancy, no. 12, Miss Larrigan.jpg

Category:Paintings in the Musée d'Art Moderne de Paris

La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, Paris. Gleizes' ''[[Portrait de l’éditeur Eugène Figuière (Gleizes)

Jean Metzinger, ''[[L'Oiseau bleu (Metzinger)

File:Albert Gleizes, 1911, Dessin pour les Baigneuses, published in La Revue de France et des pays français, February - March 1912.jpg

Albert Gleizes, 1911, ''Dessin pour les Baigneuses'', published in ''La Revue de France et des pays français'', February - March 1912

Albert Gleizes, 1912, ''Les Baigneuses''

File:Albert Gleizes, 1912, Les Baigneuses (The Bathers) vs. Courbevoie, ca.1912, Les Bord de Seine, L'Ile de la Jatte.jpg

Albert Gleizes, 1911, ''Le Chemin, Paysage à Meudon, Paysage avec personnage'', oil on canvas, 146.4 x 114.4 cm. Exhibited at Salon des Indépendants, Paris, 1911, Salon des Indépendants, Brussels, 1911, [[Galeries Dalmau