Trying to Trash Betsy DeVos

Prompt: In Trying to Trash Betsy DeVos, how is the Reaction discussed?

Commentators point out that the political cartoon draws directly upon The Problem We All Live With by Norman Rockwell, which depicts Ruby Bridges being escorted to school as a child during a time when crowds of white protesters would actively prevent desegregation efforts initiated by the Brown v. Board of Education case.  McCoy confirmed that he used the Rockwell piece as an inspiration for the political cartoon.On social media, the cartoon was met with unfavorable criticism. Readers of the Belleville News-Democrat demanded both that McCoy apologize and that he be terminated from his position.Many complaints centered upon an alleged false equivalency. Among others, Chelsea Clinton responded publicly by expressing outrage at the cartoon, and subsequently pointed out The Problem We All Live With on Twitter.  One reason for this reaction was due to the explicit comparison of opposition to DeVos with themes of racism explored in Norman Rockwell's The Problem We All Live With.  German Lopez at Vox.com opined that "protests against DeVos and racial segregation in American schools are not the same".  Jillian Steinhauer asserted that McCoy's work is an example of false equivalence, saying, "Glenn McCoy appropriated Norman Rockwell’s The Problem We All Live With, replacing the six-year-old black girl who desegregated a public school with the billionaire Secretary of Education". USA Today highlighted a comment from a reader who responded to the image, claiming it represents an example of white privilege.A representative for the National Education Association offered no comment on the political cartoon.McCoy responded to criticism via e-mail, saying, "I regret if anyone was offended by my choice of metaphors", and noted that he wanted to draw attention to and start public discussion on the behavior of protesters. In a statement on the Belleville News-Democrat website, McCoy also expressed disappointment that, "decades beyond the civil rights protests... people are still being denied the right to speak freely or do their jobs or enter public buildings because others disagree with who they are or how they think". Faced with accusations that the image is hateful, McCoy defended his work, saying, "I thought I was speaking out against hate... You may disagree with her on issues but I didn't see any hate coming from her. I did, however, see hate going in the other direction, which is what made me think of the Rockwell image. That was the only comparison I was drawing".

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Nero's Torches

Prompt: Focus on Nero's Torches and explain the abstract.

Nero's Torches (Polish: Pochodnie Nerona) is an 1876 oil-on-canvas painting by the Polish artist Henryk Siemiradzki. It is also known as Candlesticks of Christianity (Świeczniki chrześcijaństwa).

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: Explain the abstract of this artwork, Nero's Torches.

Nero's Torches (Polish: Pochodnie Nerona) is an 1876 oil-on-canvas painting by the Polish artist Henryk Siemiradzki. It is also known as Candlesticks of Christianity (Świeczniki chrześcijaństwa).

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: How does Nero's Torches explain its abstract?

Nero's Torches (Polish: Pochodnie Nerona) is an 1876 oil-on-canvas painting by the Polish artist Henryk Siemiradzki. It is also known as Candlesticks of Christianity (Świeczniki chrześcijaństwa).

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: In Nero's Torches, how is the abstract discussed?

Nero's Torches (Polish: Pochodnie Nerona) is an 1876 oil-on-canvas painting by the Polish artist Henryk Siemiradzki. It is also known as Candlesticks of Christianity (Świeczniki chrześcijaństwa).

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: Focus on Nero's Torches and explain the Description.

It depicts a group of Early Christian martyrs who are about to be burned alive as the alleged perpetrators of the Great Fire of Rome, during the reign of emperor Nero in 64 AD. People from many different social spheres, including the emperor himself, are present to watch the burning, which takes place in front of the Domus Aurea. The motif is based on the descriptions by Suetonius and Tacitus. Of note is that the signs attached to the feet of the condemned list their alleged crimes, and show the Alexamenos Graffito.

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: Explain the Description of this artwork, Nero's Torches.

It depicts a group of Early Christian martyrs who are about to be burned alive as the alleged perpetrators of the Great Fire of Rome, during the reign of emperor Nero in 64 AD. People from many different social spheres, including the emperor himself, are present to watch the burning, which takes place in front of the Domus Aurea. The motif is based on the descriptions by Suetonius and Tacitus. Of note is that the signs attached to the feet of the condemned list their alleged crimes, and show the Alexamenos Graffito.

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: How does Nero's Torches explain its Description?

It depicts a group of Early Christian martyrs who are about to be burned alive as the alleged perpetrators of the Great Fire of Rome, during the reign of emperor Nero in 64 AD. People from many different social spheres, including the emperor himself, are present to watch the burning, which takes place in front of the Domus Aurea. The motif is based on the descriptions by Suetonius and Tacitus. Of note is that the signs attached to the feet of the condemned list their alleged crimes, and show the Alexamenos Graffito.

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: In Nero's Torches, how is the Description discussed?

It depicts a group of Early Christian martyrs who are about to be burned alive as the alleged perpetrators of the Great Fire of Rome, during the reign of emperor Nero in 64 AD. People from many different social spheres, including the emperor himself, are present to watch the burning, which takes place in front of the Domus Aurea. The motif is based on the descriptions by Suetonius and Tacitus. Of note is that the signs attached to the feet of the condemned list their alleged crimes, and show the Alexamenos Graffito.

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: Focus on Nero's Torches and explain the Reception.

The painting was first exhibited in 1876 at the Accademia di San Luca in Rome. It went on to tour Europe with stops in Vienna, Munich, Prague, Lviv, Berlin, Saint Petersburg, Poznań, Paris and London. It was met with critical acclaim by masters of academic art such as Hans Makart and Lawrence Alma-Tadema. It has been the target of criticism over Siemiradzki's handling of exterior human beauty by painter and controversial art theoretician Stanisław Witkiewicz opposed to historical realism in general, and the monumental art of Jan Matejko in particular.Siemiradzki donated Nero's Torches to the recently initiated National Museum in Kraków in 1879 during Józef Ignacy Kraszewski’s anniversary celebrations. With his grant, Siemiradzki inaugurated the national collection. The painting is on display at the Siemiradzki Room of the Sukiennice Museum Gallery of 19th-Century Polish Art, housed at the Renaissance Sukiennice Hall in Main Square, Kraków (listed as UNESCO World Heritage Site since 1978).

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: Explain the Reception of this artwork, Nero's Torches.

The painting was first exhibited in 1876 at the Accademia di San Luca in Rome. It went on to tour Europe with stops in Vienna, Munich, Prague, Lviv, Berlin, Saint Petersburg, Poznań, Paris and London. It was met with critical acclaim by masters of academic art such as Hans Makart and Lawrence Alma-Tadema. It has been the target of criticism over Siemiradzki's handling of exterior human beauty by painter and controversial art theoretician Stanisław Witkiewicz opposed to historical realism in general, and the monumental art of Jan Matejko in particular.Siemiradzki donated Nero's Torches to the recently initiated National Museum in Kraków in 1879 during Józef Ignacy Kraszewski’s anniversary celebrations. With his grant, Siemiradzki inaugurated the national collection. The painting is on display at the Siemiradzki Room of the Sukiennice Museum Gallery of 19th-Century Polish Art, housed at the Renaissance Sukiennice Hall in Main Square, Kraków (listed as UNESCO World Heritage Site since 1978).

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: How does Nero's Torches explain its Reception?

The painting was first exhibited in 1876 at the Accademia di San Luca in Rome. It went on to tour Europe with stops in Vienna, Munich, Prague, Lviv, Berlin, Saint Petersburg, Poznań, Paris and London. It was met with critical acclaim by masters of academic art such as Hans Makart and Lawrence Alma-Tadema. It has been the target of criticism over Siemiradzki's handling of exterior human beauty by painter and controversial art theoretician Stanisław Witkiewicz opposed to historical realism in general, and the monumental art of Jan Matejko in particular.Siemiradzki donated Nero's Torches to the recently initiated National Museum in Kraków in 1879 during Józef Ignacy Kraszewski’s anniversary celebrations. With his grant, Siemiradzki inaugurated the national collection. The painting is on display at the Siemiradzki Room of the Sukiennice Museum Gallery of 19th-Century Polish Art, housed at the Renaissance Sukiennice Hall in Main Square, Kraków (listed as UNESCO World Heritage Site since 1978).

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Nero's Torches

Prompt: In Nero's Torches, how is the Reception discussed?

The painting was first exhibited in 1876 at the Accademia di San Luca in Rome. It went on to tour Europe with stops in Vienna, Munich, Prague, Lviv, Berlin, Saint Petersburg, Poznań, Paris and London. It was met with critical acclaim by masters of academic art such as Hans Makart and Lawrence Alma-Tadema. It has been the target of criticism over Siemiradzki's handling of exterior human beauty by painter and controversial art theoretician Stanisław Witkiewicz opposed to historical realism in general, and the monumental art of Jan Matejko in particular.Siemiradzki donated Nero's Torches to the recently initiated National Museum in Kraków in 1879 during Józef Ignacy Kraszewski’s anniversary celebrations. With his grant, Siemiradzki inaugurated the national collection. The painting is on display at the Siemiradzki Room of the Sukiennice Museum Gallery of 19th-Century Polish Art, housed at the Renaissance Sukiennice Hall in Main Square, Kraków (listed as UNESCO World Heritage Site since 1978).

Category:Paintings in the National Museum, Kraków

Category:Paintings by Henryk Siemiradzki

Category:Paintings based on works by Tacitus

Category:Works based on the Annals (Tacitus)


Penitent Magdalene (Titian, 1531)

Prompt: Focus on Penitent Magdalene (Titian, 1531) and explain the abstract.

The Penitent Magdalene is a painting of saint Mary Magdalene by Titian dating to around 1531, signed 'TITIANUS' on the ointment jar to the left. It is now in the Sala di Apollo of the Palazzo Pitti in Florence, Italy.

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

grown a "suit" of hair all over her body

washing Jesus' feet and drying them with her hair

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: Explain the abstract of this artwork, Penitent Magdalene (Titian, 1531).

The Penitent Magdalene is a painting of saint Mary Magdalene by Titian dating to around 1531, signed 'TITIANUS' on the ointment jar to the left. It is now in the Sala di Apollo of the Palazzo Pitti in Florence, Italy.

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

grown a "suit" of hair all over her body

washing Jesus' feet and drying them with her hair

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: How does Penitent Magdalene (Titian, 1531) explain its abstract?

The Penitent Magdalene is a painting of saint Mary Magdalene by Titian dating to around 1531, signed 'TITIANUS' on the ointment jar to the left. It is now in the Sala di Apollo of the Palazzo Pitti in Florence, Italy.

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

grown a "suit" of hair all over her body

washing Jesus' feet and drying them with her hair

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: In Penitent Magdalene (Titian, 1531), how is the abstract discussed?

The Penitent Magdalene is a painting of saint Mary Magdalene by Titian dating to around 1531, signed 'TITIANUS' on the ointment jar to the left. It is now in the Sala di Apollo of the Palazzo Pitti in Florence, Italy.

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

grown a "suit" of hair all over her body

washing Jesus' feet and drying them with her hair

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: Focus on Penitent Magdalene (Titian, 1531) and explain the History.

It was commissioned by the Duke of Mantua, Federico Gonzaga, to be a devotional image for the famous poet Vittoria Colonna (1490–1547). However, it is universally believed that Vittoria gave the Magdalen away to Eleonora Gonzaga, as it was found in her son the Duke of Urbino's collection in 1631.  Colonna, a learned and devout woman, was greatly inspired by Titian's image of the Magdalen, even though the Magdalen is very sensuously portrayed in Titian's depiction. The Magdalen's radiant appearance before a dark background, as if her light comes from within, caused Colonna to believe that the Magdalen was "aglow with her burning passion for Christ."

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

grown a "suit" of hair all over her body

washing Jesus' feet and drying them with her hair

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: Explain the History of this artwork, Penitent Magdalene (Titian, 1531).

It was commissioned by the Duke of Mantua, Federico Gonzaga, to be a devotional image for the famous poet Vittoria Colonna (1490–1547). However, it is universally believed that Vittoria gave the Magdalen away to Eleonora Gonzaga, as it was found in her son the Duke of Urbino's collection in 1631.  Colonna, a learned and devout woman, was greatly inspired by Titian's image of the Magdalen, even though the Magdalen is very sensuously portrayed in Titian's depiction. The Magdalen's radiant appearance before a dark background, as if her light comes from within, caused Colonna to believe that the Magdalen was "aglow with her burning passion for Christ."

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

grown a "suit" of hair all over her body

washing Jesus' feet and drying them with her hair

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: How does Penitent Magdalene (Titian, 1531) explain its History?

It was commissioned by the Duke of Mantua, Federico Gonzaga, to be a devotional image for the famous poet Vittoria Colonna (1490–1547). However, it is universally believed that Vittoria gave the Magdalen away to Eleonora Gonzaga, as it was found in her son the Duke of Urbino's collection in 1631.  Colonna, a learned and devout woman, was greatly inspired by Titian's image of the Magdalen, even though the Magdalen is very sensuously portrayed in Titian's depiction. The Magdalen's radiant appearance before a dark background, as if her light comes from within, caused Colonna to believe that the Magdalen was "aglow with her burning passion for Christ."

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

grown a "suit" of hair all over her body

washing Jesus' feet and drying them with her hair

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: In Penitent Magdalene (Titian, 1531), how is the History discussed?

It was commissioned by the Duke of Mantua, Federico Gonzaga, to be a devotional image for the famous poet Vittoria Colonna (1490–1547). However, it is universally believed that Vittoria gave the Magdalen away to Eleonora Gonzaga, as it was found in her son the Duke of Urbino's collection in 1631.  Colonna, a learned and devout woman, was greatly inspired by Titian's image of the Magdalen, even though the Magdalen is very sensuously portrayed in Titian's depiction. The Magdalen's radiant appearance before a dark background, as if her light comes from within, caused Colonna to believe that the Magdalen was "aglow with her burning passion for Christ."

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

grown a "suit" of hair all over her body

washing Jesus' feet and drying them with her hair

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: Focus on Penitent Magdalene (Titian, 1531) and explain the Analysis.

The subject of the Magdalen as a sinner and fallen woman returned to the path of virtue by Jesus was very popular in the 16th century, allowing artists to combine eroticism and religion without courting scandal. Titian's version of the subject shows her at a moment of elation and deep repentance, with tears in her eyes (referring to her washing Jesus' feet and drying them with her hair) and her gaze raised heavenwards. Erotic though it is, as Vasari notes, her nudity refers to the medieval legend that her clothes fell apart during the thirty years she spent repenting in the desert after the Ascension of Jesus. Indeed, most of the many depictions of the subject in art showed the Magdalen with no clothing at all, or just a loose wrap, as in Titian's later treatment.  According to popular works such as the Golden Legend, she spent her last years naked and alone in a hermitage in the mountains of Provence, fed only by the singing angels who visited her daily. Thus her lack of clothing symbolises her abandonment of jewels, gold and worldly goods to her faith in Christ. Additionally, the Magdalen's golden hair, fleshy body, and full lips correspond with the Renaissance beauty standards at the time.At the end of the Middle Ages a tradition grew up that she had grown a "suit" of hair all over her body except for her face, hands and feet.  This is thought to have originated in liturgical drama and is often depicted in South German art. Titian's depiction achieves a similar effect and may well recall the German treatments.

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: Explain the Analysis of this artwork, Penitent Magdalene (Titian, 1531).

The subject of the Magdalen as a sinner and fallen woman returned to the path of virtue by Jesus was very popular in the 16th century, allowing artists to combine eroticism and religion without courting scandal. Titian's version of the subject shows her at a moment of elation and deep repentance, with tears in her eyes (referring to her washing Jesus' feet and drying them with her hair) and her gaze raised heavenwards. Erotic though it is, as Vasari notes, her nudity refers to the medieval legend that her clothes fell apart during the thirty years she spent repenting in the desert after the Ascension of Jesus. Indeed, most of the many depictions of the subject in art showed the Magdalen with no clothing at all, or just a loose wrap, as in Titian's later treatment.  According to popular works such as the Golden Legend, she spent her last years naked and alone in a hermitage in the mountains of Provence, fed only by the singing angels who visited her daily. Thus her lack of clothing symbolises her abandonment of jewels, gold and worldly goods to her faith in Christ. Additionally, the Magdalen's golden hair, fleshy body, and full lips correspond with the Renaissance beauty standards at the time.At the end of the Middle Ages a tradition grew up that she had grown a "suit" of hair all over her body except for her face, hands and feet.  This is thought to have originated in liturgical drama and is often depicted in South German art. Titian's depiction achieves a similar effect and may well recall the German treatments.

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: How does Penitent Magdalene (Titian, 1531) explain its Analysis?

The subject of the Magdalen as a sinner and fallen woman returned to the path of virtue by Jesus was very popular in the 16th century, allowing artists to combine eroticism and religion without courting scandal. Titian's version of the subject shows her at a moment of elation and deep repentance, with tears in her eyes (referring to her washing Jesus' feet and drying them with her hair) and her gaze raised heavenwards. Erotic though it is, as Vasari notes, her nudity refers to the medieval legend that her clothes fell apart during the thirty years she spent repenting in the desert after the Ascension of Jesus. Indeed, most of the many depictions of the subject in art showed the Magdalen with no clothing at all, or just a loose wrap, as in Titian's later treatment.  According to popular works such as the Golden Legend, she spent her last years naked and alone in a hermitage in the mountains of Provence, fed only by the singing angels who visited her daily. Thus her lack of clothing symbolises her abandonment of jewels, gold and worldly goods to her faith in Christ. Additionally, the Magdalen's golden hair, fleshy body, and full lips correspond with the Renaissance beauty standards at the time.At the end of the Middle Ages a tradition grew up that she had grown a "suit" of hair all over her body except for her face, hands and feet.  This is thought to have originated in liturgical drama and is often depicted in South German art. Titian's depiction achieves a similar effect and may well recall the German treatments.

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

Feather tights#Mary Magdalene.27s hair suit


Penitent Magdalene (Titian, 1531)

Prompt: In Penitent Magdalene (Titian, 1531), how is the Analysis discussed?

The subject of the Magdalen as a sinner and fallen woman returned to the path of virtue by Jesus was very popular in the 16th century, allowing artists to combine eroticism and religion without courting scandal. Titian's version of the subject shows her at a moment of elation and deep repentance, with tears in her eyes (referring to her washing Jesus' feet and drying them with her hair) and her gaze raised heavenwards. Erotic though it is, as Vasari notes, her nudity refers to the medieval legend that her clothes fell apart during the thirty years she spent repenting in the desert after the Ascension of Jesus. Indeed, most of the many depictions of the subject in art showed the Magdalen with no clothing at all, or just a loose wrap, as in Titian's later treatment.  According to popular works such as the Golden Legend, she spent her last years naked and alone in a hermitage in the mountains of Provence, fed only by the singing angels who visited her daily. Thus her lack of clothing symbolises her abandonment of jewels, gold and worldly goods to her faith in Christ. Additionally, the Magdalen's golden hair, fleshy body, and full lips correspond with the Renaissance beauty standards at the time.At the end of the Middle Ages a tradition grew up that she had grown a "suit" of hair all over her body except for her face, hands and feet.  This is thought to have originated in liturgical drama and is often depicted in South German art. Titian's depiction achieves a similar effect and may well recall the German treatments.

Category:Paintings in the Galleria Palatina

Guidobaldo II della Rovere, Duke of Urbino

Feather tights#Mary Magdalene.27s hair suit


Prompt: Focus on Saint Roch Interceding with the Virgin for the Plague-Stricken and explain the abstract.

Saint Roch Interceding with the Virgin for the Plague-Stricken is an early religious painting by the French artist Jacques-Louis David. It shows Saint Roch interceding to the Virgin Mary and Christ Child for the plague sufferers shown around him. He painted it in 1780 during his stay at the Villa Medici in Rome after winning first prize for painting in the Prix de Rome (before his Portrait of count Stanislas Potocki) and exhibited it at the 1781 Paris Salon on his return to France. While in Rome he was much influenced by the works of Caravaggio, Poussin, Guercino and Lebrun. He was determined not to be seduced by the Italian baroque style, declaring "the Antique will not seduce me, it lacks animation, it does not move". Nevertheless, he filled twelve sketchbooks with drawings while he was in Rome, and he and his studio used them as models for the rest of his life.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: Explain the abstract of this artwork, Saint Roch Interceding with the Virgin for the Plague-Stricken.

Saint Roch Interceding with the Virgin for the Plague-Stricken is an early religious painting by the French artist Jacques-Louis David. It shows Saint Roch interceding to the Virgin Mary and Christ Child for the plague sufferers shown around him. He painted it in 1780 during his stay at the Villa Medici in Rome after winning first prize for painting in the Prix de Rome (before his Portrait of count Stanislas Potocki) and exhibited it at the 1781 Paris Salon on his return to France. While in Rome he was much influenced by the works of Caravaggio, Poussin, Guercino and Lebrun. He was determined not to be seduced by the Italian baroque style, declaring "the Antique will not seduce me, it lacks animation, it does not move". Nevertheless, he filled twelve sketchbooks with drawings while he was in Rome, and he and his studio used them as models for the rest of his life.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: How does Saint Roch Interceding with the Virgin for the Plague-Stricken explain its abstract?

Saint Roch Interceding with the Virgin for the Plague-Stricken is an early religious painting by the French artist Jacques-Louis David. It shows Saint Roch interceding to the Virgin Mary and Christ Child for the plague sufferers shown around him. He painted it in 1780 during his stay at the Villa Medici in Rome after winning first prize for painting in the Prix de Rome (before his Portrait of count Stanislas Potocki) and exhibited it at the 1781 Paris Salon on his return to France. While in Rome he was much influenced by the works of Caravaggio, Poussin, Guercino and Lebrun. He was determined not to be seduced by the Italian baroque style, declaring "the Antique will not seduce me, it lacks animation, it does not move". Nevertheless, he filled twelve sketchbooks with drawings while he was in Rome, and he and his studio used them as models for the rest of his life.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: In Saint Roch Interceding with the Virgin for the Plague-Stricken, how is the abstract discussed?

Saint Roch Interceding with the Virgin for the Plague-Stricken is an early religious painting by the French artist Jacques-Louis David. It shows Saint Roch interceding to the Virgin Mary and Christ Child for the plague sufferers shown around him. He painted it in 1780 during his stay at the Villa Medici in Rome after winning first prize for painting in the Prix de Rome (before his Portrait of count Stanislas Potocki) and exhibited it at the 1781 Paris Salon on his return to France. While in Rome he was much influenced by the works of Caravaggio, Poussin, Guercino and Lebrun. He was determined not to be seduced by the Italian baroque style, declaring "the Antique will not seduce me, it lacks animation, it does not move". Nevertheless, he filled twelve sketchbooks with drawings while he was in Rome, and he and his studio used them as models for the rest of his life.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: Focus on Saint Roch Interceding with the Virgin for the Plague-Stricken and explain the Background.

Saint Roch is, among other things, the patron saint of invalids, and is specially invoked against the plague. Having recovered from the illness himself, he is portrayed as a pilgrim with a staff and a bubo on his thigh (a relic of his illness), and is often accompanied by a dog, representing the dog that brought him bread and licked his wounds when he was ill.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: Explain the Background of this artwork, Saint Roch Interceding with the Virgin for the Plague-Stricken.

Saint Roch is, among other things, the patron saint of invalids, and is specially invoked against the plague. Having recovered from the illness himself, he is portrayed as a pilgrim with a staff and a bubo on his thigh (a relic of his illness), and is often accompanied by a dog, representing the dog that brought him bread and licked his wounds when he was ill.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: How does Saint Roch Interceding with the Virgin for the Plague-Stricken explain its Background?

Saint Roch is, among other things, the patron saint of invalids, and is specially invoked against the plague. Having recovered from the illness himself, he is portrayed as a pilgrim with a staff and a bubo on his thigh (a relic of his illness), and is often accompanied by a dog, representing the dog that brought him bread and licked his wounds when he was ill.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: In Saint Roch Interceding with the Virgin for the Plague-Stricken, how is the Background discussed?

Saint Roch is, among other things, the patron saint of invalids, and is specially invoked against the plague. Having recovered from the illness himself, he is portrayed as a pilgrim with a staff and a bubo on his thigh (a relic of his illness), and is often accompanied by a dog, representing the dog that brought him bread and licked his wounds when he was ill.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: Focus on Saint Roch Interceding with the Virgin for the Plague-Stricken and explain the The painting.

In the painting, Saint Roch is in the middle on the right, looking up at the Virgin Mary and the Christ Child at top left. Saint Roch is recognisable from his pilgrim's attire, the bubo on his leg and the dog behind him. He is pleading to Mary for her intercession. To the bottom left is a tight-knit group of sufferers sitting and lying on the ground. Mary is dressed in bright blue and red robes and is playing with the Baby, seemingly indifferent to the plight of the men below. They are painted in sombre browns and greys, and their suffering is emphasized by a glimpse in the middle distance on the right of victims lying in a stupor and being carried away in a cart.The picture is an oil-on-canvas work measuring 260 by 195 cm (102 by 77 in). It is now in the Musée des beaux-arts de Marseille, France.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: Explain the The painting of this artwork, Saint Roch Interceding with the Virgin for the Plague-Stricken.

In the painting, Saint Roch is in the middle on the right, looking up at the Virgin Mary and the Christ Child at top left. Saint Roch is recognisable from his pilgrim's attire, the bubo on his leg and the dog behind him. He is pleading to Mary for her intercession. To the bottom left is a tight-knit group of sufferers sitting and lying on the ground. Mary is dressed in bright blue and red robes and is playing with the Baby, seemingly indifferent to the plight of the men below. They are painted in sombre browns and greys, and their suffering is emphasized by a glimpse in the middle distance on the right of victims lying in a stupor and being carried away in a cart.The picture is an oil-on-canvas work measuring 260 by 195 cm (102 by 77 in). It is now in the Musée des beaux-arts de Marseille, France.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: How does Saint Roch Interceding with the Virgin for the Plague-Stricken explain its The painting?

In the painting, Saint Roch is in the middle on the right, looking up at the Virgin Mary and the Christ Child at top left. Saint Roch is recognisable from his pilgrim's attire, the bubo on his leg and the dog behind him. He is pleading to Mary for her intercession. To the bottom left is a tight-knit group of sufferers sitting and lying on the ground. Mary is dressed in bright blue and red robes and is playing with the Baby, seemingly indifferent to the plight of the men below. They are painted in sombre browns and greys, and their suffering is emphasized by a glimpse in the middle distance on the right of victims lying in a stupor and being carried away in a cart.The picture is an oil-on-canvas work measuring 260 by 195 cm (102 by 77 in). It is now in the Musée des beaux-arts de Marseille, France.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: In Saint Roch Interceding with the Virgin for the Plague-Stricken, how is the The painting discussed?

In the painting, Saint Roch is in the middle on the right, looking up at the Virgin Mary and the Christ Child at top left. Saint Roch is recognisable from his pilgrim's attire, the bubo on his leg and the dog behind him. He is pleading to Mary for her intercession. To the bottom left is a tight-knit group of sufferers sitting and lying on the ground. Mary is dressed in bright blue and red robes and is playing with the Baby, seemingly indifferent to the plight of the men below. They are painted in sombre browns and greys, and their suffering is emphasized by a glimpse in the middle distance on the right of victims lying in a stupor and being carried away in a cart.The picture is an oil-on-canvas work measuring 260 by 195 cm (102 by 77 in). It is now in the Musée des beaux-arts de Marseille, France.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Christ Appointing Saint Roch as Patron Saint of Plague Victims

Category:Paintings by Jacques-Louis David


Prompt: Focus on Saint Roch Interceding with the Virgin for the Plague-Stricken and explain the Reception.

The picture has been compared to, and may have been influenced by, Christ Appointing Saint Roch as Patron Saint of Plague Victims, a 1623-1626 altarpiece by Peter Paul Rubens. In Rubens's picture, the plague victims are hopeful, seeing Saint Roch and Christ above them as their saviours, about to cure them. David's victims on the other hand are apathetic, they see themselves as doomed; one gazes at the viewer in silent reproach, another makes a frantic movement that seems to lack purpose, and a third looks up at Saint Roch and the Virgin Mary with closed eyes.  Even Saint Roch and the Virgin Mary appear unconnected as if separated by a glass screen. He looks up and pleads with her but their hands do not touch; she seems unaware of his presence and is gesturing towards something in the middle distance.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Category:Paintings by Jacques-Louis David


Prompt: Explain the Reception of this artwork, Saint Roch Interceding with the Virgin for the Plague-Stricken.

The picture has been compared to, and may have been influenced by, Christ Appointing Saint Roch as Patron Saint of Plague Victims, a 1623-1626 altarpiece by Peter Paul Rubens. In Rubens's picture, the plague victims are hopeful, seeing Saint Roch and Christ above them as their saviours, about to cure them. David's victims on the other hand are apathetic, they see themselves as doomed; one gazes at the viewer in silent reproach, another makes a frantic movement that seems to lack purpose, and a third looks up at Saint Roch and the Virgin Mary with closed eyes.  Even Saint Roch and the Virgin Mary appear unconnected as if separated by a glass screen. He looks up and pleads with her but their hands do not touch; she seems unaware of his presence and is gesturing towards something in the middle distance.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Category:Paintings by Jacques-Louis David


Prompt: How does Saint Roch Interceding with the Virgin for the Plague-Stricken explain its Reception?

The picture has been compared to, and may have been influenced by, Christ Appointing Saint Roch as Patron Saint of Plague Victims, a 1623-1626 altarpiece by Peter Paul Rubens. In Rubens's picture, the plague victims are hopeful, seeing Saint Roch and Christ above them as their saviours, about to cure them. David's victims on the other hand are apathetic, they see themselves as doomed; one gazes at the viewer in silent reproach, another makes a frantic movement that seems to lack purpose, and a third looks up at Saint Roch and the Virgin Mary with closed eyes.  Even Saint Roch and the Virgin Mary appear unconnected as if separated by a glass screen. He looks up and pleads with her but their hands do not touch; she seems unaware of his presence and is gesturing towards something in the middle distance.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Category:Paintings by Jacques-Louis David


Prompt: In Saint Roch Interceding with the Virgin for the Plague-Stricken, how is the Reception discussed?

The picture has been compared to, and may have been influenced by, Christ Appointing Saint Roch as Patron Saint of Plague Victims, a 1623-1626 altarpiece by Peter Paul Rubens. In Rubens's picture, the plague victims are hopeful, seeing Saint Roch and Christ above them as their saviours, about to cure them. David's victims on the other hand are apathetic, they see themselves as doomed; one gazes at the viewer in silent reproach, another makes a frantic movement that seems to lack purpose, and a third looks up at Saint Roch and the Virgin Mary with closed eyes.  Even Saint Roch and the Virgin Mary appear unconnected as if separated by a glass screen. He looks up and pleads with her but their hands do not touch; she seems unaware of his presence and is gesturing towards something in the middle distance.

List of paintings by Jacques-Louis David

category:Paintings in the Musée des Beaux-Arts de Marseille

Equestrian Portrait of Count Stanislas Potocki

Category:Paintings of the Madonna and Child

Category:Paintings by Jacques-Louis David


The Green Man of Portland

Prompt: Focus on The Green Man of Portland and explain the abstract.

The Green Man of Portland, also alternatively known as The Legend of the Green Man of Portland, is a 2009 art installation by artist Daniel Duford, located in Portland, Oregon, United States.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Steel sculptures in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


The Green Man of Portland

Prompt: Explain the abstract of this artwork, The Green Man of Portland.

The Green Man of Portland, also alternatively known as The Legend of the Green Man of Portland, is a 2009 art installation by artist Daniel Duford, located in Portland, Oregon, United States.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Steel sculptures in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


The Green Man of Portland

Prompt: How does The Green Man of Portland explain its abstract?

The Green Man of Portland, also alternatively known as The Legend of the Green Man of Portland, is a 2009 art installation by artist Daniel Duford, located in Portland, Oregon, United States.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Steel sculptures in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


The Green Man of Portland

Prompt: In The Green Man of Portland, how is the abstract discussed?

The Green Man of Portland, also alternatively known as The Legend of the Green Man of Portland, is a 2009 art installation by artist Daniel Duford, located in Portland, Oregon, United States.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Steel sculptures in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


The Green Man of Portland

Prompt: Focus on The Green Man of Portland and explain the Description.

Daniel Duford's The Green Man of Portland is a 2009 art installation consisting of two outdoor sculptures and eight "story markers" that form a poem. They are installed along ten blocks in Portland's Old Town Chinatown neighborhood. Materials include bronze, cast concrete, and porcelain enamel on steel. According to the artist, the work's imagery was inspired by 1970s horror comics and Works Progress Administration (WPA) posters. Duford has said of the installation:With The Green Man of Portland, I have created a fake legend. It goes like this: ever since Portland's founding there have been sightings of small green archers. Whenever the archer hits someone with an arrow, her vision changes. Flowers grow from the heads of passersby, a building called The Greenwood appears, and a giant tree towers over the city. On certain nights, a great white celestial stag is spied in the skies over Portland... The legend encompasses all the varied, transitory communities that call Old Town and Chinatown home. My great hope for this piece is that The Green Man of Portland will quietly twine itself into the fabric and many-layered history of the community.The work is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Steel sculptures in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


The Green Man of Portland

Prompt: Explain the Description of this artwork, The Green Man of Portland.

Daniel Duford's The Green Man of Portland is a 2009 art installation consisting of two outdoor sculptures and eight "story markers" that form a poem. They are installed along ten blocks in Portland's Old Town Chinatown neighborhood. Materials include bronze, cast concrete, and porcelain enamel on steel. According to the artist, the work's imagery was inspired by 1970s horror comics and Works Progress Administration (WPA) posters. Duford has said of the installation:With The Green Man of Portland, I have created a fake legend. It goes like this: ever since Portland's founding there have been sightings of small green archers. Whenever the archer hits someone with an arrow, her vision changes. Flowers grow from the heads of passersby, a building called The Greenwood appears, and a giant tree towers over the city. On certain nights, a great white celestial stag is spied in the skies over Portland... The legend encompasses all the varied, transitory communities that call Old Town and Chinatown home. My great hope for this piece is that The Green Man of Portland will quietly twine itself into the fabric and many-layered history of the community.The work is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Steel sculptures in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


The Green Man of Portland

Prompt: How does The Green Man of Portland explain its Description?

Daniel Duford's The Green Man of Portland is a 2009 art installation consisting of two outdoor sculptures and eight "story markers" that form a poem. They are installed along ten blocks in Portland's Old Town Chinatown neighborhood. Materials include bronze, cast concrete, and porcelain enamel on steel. According to the artist, the work's imagery was inspired by 1970s horror comics and Works Progress Administration (WPA) posters. Duford has said of the installation:With The Green Man of Portland, I have created a fake legend. It goes like this: ever since Portland's founding there have been sightings of small green archers. Whenever the archer hits someone with an arrow, her vision changes. Flowers grow from the heads of passersby, a building called The Greenwood appears, and a giant tree towers over the city. On certain nights, a great white celestial stag is spied in the skies over Portland... The legend encompasses all the varied, transitory communities that call Old Town and Chinatown home. My great hope for this piece is that The Green Man of Portland will quietly twine itself into the fabric and many-layered history of the community.The work is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Steel sculptures in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


The Green Man of Portland

Prompt: In The Green Man of Portland, how is the Description discussed?

Daniel Duford's The Green Man of Portland is a 2009 art installation consisting of two outdoor sculptures and eight "story markers" that form a poem. They are installed along ten blocks in Portland's Old Town Chinatown neighborhood. Materials include bronze, cast concrete, and porcelain enamel on steel. According to the artist, the work's imagery was inspired by 1970s horror comics and Works Progress Administration (WPA) posters. Duford has said of the installation:With The Green Man of Portland, I have created a fake legend. It goes like this: ever since Portland's founding there have been sightings of small green archers. Whenever the archer hits someone with an arrow, her vision changes. Flowers grow from the heads of passersby, a building called The Greenwood appears, and a giant tree towers over the city. On certain nights, a great white celestial stag is spied in the skies over Portland... The legend encompasses all the varied, transitory communities that call Old Town and Chinatown home. My great hope for this piece is that The Green Man of Portland will quietly twine itself into the fabric and many-layered history of the community.The work is part of the City of Portland and Multnomah County Public Art Collection courtesy of the Regional Arts & Culture Council.

Category:Sculptures on the MAX Green Line

Category:Outdoor sculptures in Northwest Portland, Oregon

Category:Steel sculptures in Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Les Orangers

Prompt: Focus on Les Orangers and explain the abstract.

Les Orangers  (English title: The Orange Trees) is an oil painting by French impressionist Gustave Caillebotte. The canvas measures 155 by 117 centimetres (61 in × 46 in). It was acquired by Audrey Jones Beck and was part of a collection that was on a long-term loan to the Museum of Fine Arts, Houston, before the collection was donated to the museum in 1999. The painting now hangs in the museum building named for Beck.

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

:File:Monet-Le déjeuner panneau decorative-1874.png

Photograph of the orangery on the Caillebotte estate in 2014.

Category:Paintings in the Museum of Fine Arts, Houston


Les Orangers

Prompt: Explain the abstract of this artwork, Les Orangers.

Les Orangers  (English title: The Orange Trees) is an oil painting by French impressionist Gustave Caillebotte. The canvas measures 155 by 117 centimetres (61 in × 46 in). It was acquired by Audrey Jones Beck and was part of a collection that was on a long-term loan to the Museum of Fine Arts, Houston, before the collection was donated to the museum in 1999. The painting now hangs in the museum building named for Beck.

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

:File:Monet-Le déjeuner panneau decorative-1874.png

Photograph of the orangery on the Caillebotte estate in 2014.

Category:Paintings in the Museum of Fine Arts, Houston


Les Orangers

Prompt: How does Les Orangers explain its abstract?

Les Orangers  (English title: The Orange Trees) is an oil painting by French impressionist Gustave Caillebotte. The canvas measures 155 by 117 centimetres (61 in × 46 in). It was acquired by Audrey Jones Beck and was part of a collection that was on a long-term loan to the Museum of Fine Arts, Houston, before the collection was donated to the museum in 1999. The painting now hangs in the museum building named for Beck.

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

:File:Monet-Le déjeuner panneau decorative-1874.png

Photograph of the orangery on the Caillebotte estate in 2014.

Category:Paintings in the Museum of Fine Arts, Houston


Les Orangers

Prompt: In Les Orangers, how is the abstract discussed?

Les Orangers  (English title: The Orange Trees) is an oil painting by French impressionist Gustave Caillebotte. The canvas measures 155 by 117 centimetres (61 in × 46 in). It was acquired by Audrey Jones Beck and was part of a collection that was on a long-term loan to the Museum of Fine Arts, Houston, before the collection was donated to the museum in 1999. The painting now hangs in the museum building named for Beck.

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

:File:Monet-Le déjeuner panneau decorative-1874.png

Photograph of the orangery on the Caillebotte estate in 2014.

Category:Paintings in the Museum of Fine Arts, Houston


Les Orangers

Prompt: Focus on Les Orangers and explain the Composition.

Caillebotte, in common with other impressionist painters of the time, had an affinity for horticulture and was one of the movement's most avid gardeners. While many of his contemporaries preferred more organic and wild settings, Caillebotte preferred manicured, formal arrangements. He trained his fruit trees with careful pruning to encourage compact growth. Critics have suggested that this may have been in keeping with his interest in perspective.Caillebotte painted this canvas en plein air at the family's country estate in Yerres in 1878. Although impressionist painters were known for painting outdoors, large canvases such as this, painted with this technique, were uncommon due to the difficulties in creating such a large work quickly, before the light changed. Caillebotte obtained one such example, Le Déjeuner by Claude Monet in March of that year, and it is likely to have influenced this work.The image depicts a daytime scene. Caillebotte's brother Martial is reading while sitting in the shade of the orange trees with his back towards the viewer. He is dressed in the same way as Gustave himself in Renoir's Oarsmen at Chatou. Their cousin, Zoé Caillebotte, is standing at one of the Versailles tubs, then fashionable as garden planters, which contain the trees. The poses of Martial and Zoé suggest that they are each enjoying the afternoon quietly with their private thoughts. The lightweight painted sprung-steel garden chairs in the foreground appear in other works painted at Yerres, and can be seen in a contemporaneous photograph of the estate. In the background, the bright sunlight illuminates a circular flower bed surrounded by a curving gravel path, at the edge of which a dog appears to be sleeping.Caillebotte employs sharp contrast between the shady foreground in the lower part of the image and the bright background. The shadows are painted in muted greens and purples, while the lawn and flower beds are brilliant greens, reds and whites. The strong definition between the areas of sunlight and shadow is a departure from the dappled light that occurs in similar outdoor scenes by Impressionists Renoir and Monet. Art historian and critic Kirk Varnedoe suggests that this contrast contributes to a sense of afternoon heat.

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

:File:Monet-Le déjeuner panneau decorative-1874.png

Photograph of the orangery on the Caillebotte estate in 2014.

Category:Paintings in the Museum of Fine Arts, Houston


Les Orangers

Prompt: Explain the Composition of this artwork, Les Orangers.

Caillebotte, in common with other impressionist painters of the time, had an affinity for horticulture and was one of the movement's most avid gardeners. While many of his contemporaries preferred more organic and wild settings, Caillebotte preferred manicured, formal arrangements. He trained his fruit trees with careful pruning to encourage compact growth. Critics have suggested that this may have been in keeping with his interest in perspective.Caillebotte painted this canvas en plein air at the family's country estate in Yerres in 1878. Although impressionist painters were known for painting outdoors, large canvases such as this, painted with this technique, were uncommon due to the difficulties in creating such a large work quickly, before the light changed. Caillebotte obtained one such example, Le Déjeuner by Claude Monet in March of that year, and it is likely to have influenced this work.The image depicts a daytime scene. Caillebotte's brother Martial is reading while sitting in the shade of the orange trees with his back towards the viewer. He is dressed in the same way as Gustave himself in Renoir's Oarsmen at Chatou. Their cousin, Zoé Caillebotte, is standing at one of the Versailles tubs, then fashionable as garden planters, which contain the trees. The poses of Martial and Zoé suggest that they are each enjoying the afternoon quietly with their private thoughts. The lightweight painted sprung-steel garden chairs in the foreground appear in other works painted at Yerres, and can be seen in a contemporaneous photograph of the estate. In the background, the bright sunlight illuminates a circular flower bed surrounded by a curving gravel path, at the edge of which a dog appears to be sleeping.Caillebotte employs sharp contrast between the shady foreground in the lower part of the image and the bright background. The shadows are painted in muted greens and purples, while the lawn and flower beds are brilliant greens, reds and whites. The strong definition between the areas of sunlight and shadow is a departure from the dappled light that occurs in similar outdoor scenes by Impressionists Renoir and Monet. Art historian and critic Kirk Varnedoe suggests that this contrast contributes to a sense of afternoon heat.

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

:File:Monet-Le déjeuner panneau decorative-1874.png

Photograph of the orangery on the Caillebotte estate in 2014.

Category:Paintings in the Museum of Fine Arts, Houston


Les Orangers

Prompt: How does Les Orangers explain its Composition?

Caillebotte, in common with other impressionist painters of the time, had an affinity for horticulture and was one of the movement's most avid gardeners. While many of his contemporaries preferred more organic and wild settings, Caillebotte preferred manicured, formal arrangements. He trained his fruit trees with careful pruning to encourage compact growth. Critics have suggested that this may have been in keeping with his interest in perspective.Caillebotte painted this canvas en plein air at the family's country estate in Yerres in 1878. Although impressionist painters were known for painting outdoors, large canvases such as this, painted with this technique, were uncommon due to the difficulties in creating such a large work quickly, before the light changed. Caillebotte obtained one such example, Le Déjeuner by Claude Monet in March of that year, and it is likely to have influenced this work.The image depicts a daytime scene. Caillebotte's brother Martial is reading while sitting in the shade of the orange trees with his back towards the viewer. He is dressed in the same way as Gustave himself in Renoir's Oarsmen at Chatou. Their cousin, Zoé Caillebotte, is standing at one of the Versailles tubs, then fashionable as garden planters, which contain the trees. The poses of Martial and Zoé suggest that they are each enjoying the afternoon quietly with their private thoughts. The lightweight painted sprung-steel garden chairs in the foreground appear in other works painted at Yerres, and can be seen in a contemporaneous photograph of the estate. In the background, the bright sunlight illuminates a circular flower bed surrounded by a curving gravel path, at the edge of which a dog appears to be sleeping.Caillebotte employs sharp contrast between the shady foreground in the lower part of the image and the bright background. The shadows are painted in muted greens and purples, while the lawn and flower beds are brilliant greens, reds and whites. The strong definition between the areas of sunlight and shadow is a departure from the dappled light that occurs in similar outdoor scenes by Impressionists Renoir and Monet. Art historian and critic Kirk Varnedoe suggests that this contrast contributes to a sense of afternoon heat.

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

:File:Monet-Le déjeuner panneau decorative-1874.png

Photograph of the orangery on the Caillebotte estate in 2014.

Category:Paintings in the Museum of Fine Arts, Houston


Les Orangers

Prompt: In Les Orangers, how is the Composition discussed?

Caillebotte, in common with other impressionist painters of the time, had an affinity for horticulture and was one of the movement's most avid gardeners. While many of his contemporaries preferred more organic and wild settings, Caillebotte preferred manicured, formal arrangements. He trained his fruit trees with careful pruning to encourage compact growth. Critics have suggested that this may have been in keeping with his interest in perspective.Caillebotte painted this canvas en plein air at the family's country estate in Yerres in 1878. Although impressionist painters were known for painting outdoors, large canvases such as this, painted with this technique, were uncommon due to the difficulties in creating such a large work quickly, before the light changed. Caillebotte obtained one such example, Le Déjeuner by Claude Monet in March of that year, and it is likely to have influenced this work.The image depicts a daytime scene. Caillebotte's brother Martial is reading while sitting in the shade of the orange trees with his back towards the viewer. He is dressed in the same way as Gustave himself in Renoir's Oarsmen at Chatou. Their cousin, Zoé Caillebotte, is standing at one of the Versailles tubs, then fashionable as garden planters, which contain the trees. The poses of Martial and Zoé suggest that they are each enjoying the afternoon quietly with their private thoughts. The lightweight painted sprung-steel garden chairs in the foreground appear in other works painted at Yerres, and can be seen in a contemporaneous photograph of the estate. In the background, the bright sunlight illuminates a circular flower bed surrounded by a curving gravel path, at the edge of which a dog appears to be sleeping.Caillebotte employs sharp contrast between the shady foreground in the lower part of the image and the bright background. The shadows are painted in muted greens and purples, while the lawn and flower beds are brilliant greens, reds and whites. The strong definition between the areas of sunlight and shadow is a departure from the dappled light that occurs in similar outdoor scenes by Impressionists Renoir and Monet. Art historian and critic Kirk Varnedoe suggests that this contrast contributes to a sense of afternoon heat.

List of paintings by Gustave Caillebotte

Category:Paintings by Gustave Caillebotte

:File:Monet-Le déjeuner panneau decorative-1874.png

Photograph of the orangery on the Caillebotte estate in 2014.

Category:Paintings in the Museum of Fine Arts, Houston


The Kongouro from New Holland

Prompt: Focus on The Kongouro from New Holland and explain the abstract.

The Kongouro from New Holland is an oil painting by George Stubbs. Depicting a kangaroo, it is the first painting of an Australian animal in Western art, along with a painting of a dingo—Portrait of a Large Dog—also by George Stubbs. It is part of the collection of the National Maritime Museum in Greenwich, London. The work was commissioned by Joseph Banks and based on the inflated skin of an animal he had collected from the east coast of Australia in 1770 during Lieutenant James Cook's first voyage of discovery. It also seems to be based on Sydney Parkinson's drawing of a kangaroo; Parkinson was Joseph Banks's botanical illustrator on the first voyage of James Cook. It depicts the animal sitting on a rock and looking over its shoulder with a backdrop of trees and mountains. The two were the only two paintings that Stubbs did not draw from a live subject.It was first exhibited by the Society of Artists in London in 1773 together with his painting of the dingo, Portrait of a Large Dog. Subsequent exhibitions were held at the Walker Art Gallery in Liverpool in 1951 and the Whitechapel Art Gallery in 1957. The painting has also been on view in recent years at Parham House in Sussex during public openings.In 2012, The Kongouro from New Holland and Portrait of a Large Dog were purchased together at auction for 9.3 million Australian dollars by an undisclosed buyer. An application to take them to Australia was refused by the Department of Culture on the grounds of their national importance. Sir David Attenborough, who had led a campaign to keep both portraits in Britain, remarked that it was "exciting news that these two pictures, so important in the history of zoological discovery, are to remain where they were commissioned and painted". The National Gallery of Australia had expressed a strong desire to purchase the portraits. In November 2013 it was announced that a £1.5million donation from the Eyal Ofer Family Foundation will enable the National Maritime Museum in Greenwich, London to acquire the two paintings.

File:The Kongouro from New Holland by George Stubbs (detail of head).jpg


The Kongouro from New Holland

Prompt: Explain the abstract of this artwork, The Kongouro from New Holland.

The Kongouro from New Holland is an oil painting by George Stubbs. Depicting a kangaroo, it is the first painting of an Australian animal in Western art, along with a painting of a dingo—Portrait of a Large Dog—also by George Stubbs. It is part of the collection of the National Maritime Museum in Greenwich, London. The work was commissioned by Joseph Banks and based on the inflated skin of an animal he had collected from the east coast of Australia in 1770 during Lieutenant James Cook's first voyage of discovery. It also seems to be based on Sydney Parkinson's drawing of a kangaroo; Parkinson was Joseph Banks's botanical illustrator on the first voyage of James Cook. It depicts the animal sitting on a rock and looking over its shoulder with a backdrop of trees and mountains. The two were the only two paintings that Stubbs did not draw from a live subject.It was first exhibited by the Society of Artists in London in 1773 together with his painting of the dingo, Portrait of a Large Dog. Subsequent exhibitions were held at the Walker Art Gallery in Liverpool in 1951 and the Whitechapel Art Gallery in 1957. The painting has also been on view in recent years at Parham House in Sussex during public openings.In 2012, The Kongouro from New Holland and Portrait of a Large Dog were purchased together at auction for 9.3 million Australian dollars by an undisclosed buyer. An application to take them to Australia was refused by the Department of Culture on the grounds of their national importance. Sir David Attenborough, who had led a campaign to keep both portraits in Britain, remarked that it was "exciting news that these two pictures, so important in the history of zoological discovery, are to remain where they were commissioned and painted". The National Gallery of Australia had expressed a strong desire to purchase the portraits. In November 2013 it was announced that a £1.5million donation from the Eyal Ofer Family Foundation will enable the National Maritime Museum in Greenwich, London to acquire the two paintings.

File:The Kongouro from New Holland by George Stubbs (detail of head).jpg


The Kongouro from New Holland

Prompt: How does The Kongouro from New Holland explain its abstract?

The Kongouro from New Holland is an oil painting by George Stubbs. Depicting a kangaroo, it is the first painting of an Australian animal in Western art, along with a painting of a dingo—Portrait of a Large Dog—also by George Stubbs. It is part of the collection of the National Maritime Museum in Greenwich, London. The work was commissioned by Joseph Banks and based on the inflated skin of an animal he had collected from the east coast of Australia in 1770 during Lieutenant James Cook's first voyage of discovery. It also seems to be based on Sydney Parkinson's drawing of a kangaroo; Parkinson was Joseph Banks's botanical illustrator on the first voyage of James Cook. It depicts the animal sitting on a rock and looking over its shoulder with a backdrop of trees and mountains. The two were the only two paintings that Stubbs did not draw from a live subject.It was first exhibited by the Society of Artists in London in 1773 together with his painting of the dingo, Portrait of a Large Dog. Subsequent exhibitions were held at the Walker Art Gallery in Liverpool in 1951 and the Whitechapel Art Gallery in 1957. The painting has also been on view in recent years at Parham House in Sussex during public openings.In 2012, The Kongouro from New Holland and Portrait of a Large Dog were purchased together at auction for 9.3 million Australian dollars by an undisclosed buyer. An application to take them to Australia was refused by the Department of Culture on the grounds of their national importance. Sir David Attenborough, who had led a campaign to keep both portraits in Britain, remarked that it was "exciting news that these two pictures, so important in the history of zoological discovery, are to remain where they were commissioned and painted". The National Gallery of Australia had expressed a strong desire to purchase the portraits. In November 2013 it was announced that a £1.5million donation from the Eyal Ofer Family Foundation will enable the National Maritime Museum in Greenwich, London to acquire the two paintings.

File:The Kongouro from New Holland by George Stubbs (detail of head).jpg


The Kongouro from New Holland

Prompt: In The Kongouro from New Holland, how is the abstract discussed?

The Kongouro from New Holland is an oil painting by George Stubbs. Depicting a kangaroo, it is the first painting of an Australian animal in Western art, along with a painting of a dingo—Portrait of a Large Dog—also by George Stubbs. It is part of the collection of the National Maritime Museum in Greenwich, London. The work was commissioned by Joseph Banks and based on the inflated skin of an animal he had collected from the east coast of Australia in 1770 during Lieutenant James Cook's first voyage of discovery. It also seems to be based on Sydney Parkinson's drawing of a kangaroo; Parkinson was Joseph Banks's botanical illustrator on the first voyage of James Cook. It depicts the animal sitting on a rock and looking over its shoulder with a backdrop of trees and mountains. The two were the only two paintings that Stubbs did not draw from a live subject.It was first exhibited by the Society of Artists in London in 1773 together with his painting of the dingo, Portrait of a Large Dog. Subsequent exhibitions were held at the Walker Art Gallery in Liverpool in 1951 and the Whitechapel Art Gallery in 1957. The painting has also been on view in recent years at Parham House in Sussex during public openings.In 2012, The Kongouro from New Holland and Portrait of a Large Dog were purchased together at auction for 9.3 million Australian dollars by an undisclosed buyer. An application to take them to Australia was refused by the Department of Culture on the grounds of their national importance. Sir David Attenborough, who had led a campaign to keep both portraits in Britain, remarked that it was "exciting news that these two pictures, so important in the history of zoological discovery, are to remain where they were commissioned and painted". The National Gallery of Australia had expressed a strong desire to purchase the portraits. In November 2013 it was announced that a £1.5million donation from the Eyal Ofer Family Foundation will enable the National Maritime Museum in Greenwich, London to acquire the two paintings.

File:The Kongouro from New Holland by George Stubbs (detail of head).jpg


Statue of Charles de Gaulle, London

Prompt: Focus on Statue of Charles de Gaulle, London and explain the abstract.

A bronze statue of Charles de Gaulle stands in Carlton Gardens in the City of Westminster, London. Charles de Gaulle, the leader of Free France, set up his government in exile at No. 4 Carlton Gardens.The statue was campaigned for by Mary Soames, the daughter of De Gaulle's contemporary Winston Churchill. It was unveiled by Queen Elizabeth The Queen Mother on 23 June 1993 in the presence of Jacques Chirac, at that time Mayor of Paris, and the President of the National Assembly Philippe Séguin, as well as De Gaulle's chauffeur-translator Olivia Jordan. The architect was Bernard Wiehahn and the sculptor Angela Conner. De Gaulle is portrayed in the uniform of a brigadier-general. The statue is one of 39 in London maintained by English Heritage, the majority of which are in Westminster.The French Embassy commemorates De Gaulle at the statue annually. The President of France, Emmanuel Macron, laid a wreath on his visit to London on 18 June 2020, the 80th anniversary of De Gaulle's resistance speech.The enthusiastic fundraising for the statue by the British public led to calls for a statue of Churchill to be placed in the French capital, which was unveiled in 1998.

Category:Monuments and memorials to Charles de Gaulle

Category:Statues in the City of Westminster

Category:Bronze sculptures in the City of Westminster


Statue of Charles de Gaulle, London

Prompt: Explain the abstract of this artwork, Statue of Charles de Gaulle, London.

A bronze statue of Charles de Gaulle stands in Carlton Gardens in the City of Westminster, London. Charles de Gaulle, the leader of Free France, set up his government in exile at No. 4 Carlton Gardens.The statue was campaigned for by Mary Soames, the daughter of De Gaulle's contemporary Winston Churchill. It was unveiled by Queen Elizabeth The Queen Mother on 23 June 1993 in the presence of Jacques Chirac, at that time Mayor of Paris, and the President of the National Assembly Philippe Séguin, as well as De Gaulle's chauffeur-translator Olivia Jordan. The architect was Bernard Wiehahn and the sculptor Angela Conner. De Gaulle is portrayed in the uniform of a brigadier-general. The statue is one of 39 in London maintained by English Heritage, the majority of which are in Westminster.The French Embassy commemorates De Gaulle at the statue annually. The President of France, Emmanuel Macron, laid a wreath on his visit to London on 18 June 2020, the 80th anniversary of De Gaulle's resistance speech.The enthusiastic fundraising for the statue by the British public led to calls for a statue of Churchill to be placed in the French capital, which was unveiled in 1998.

Category:Monuments and memorials to Charles de Gaulle

Category:Statues in the City of Westminster

Category:Bronze sculptures in the City of Westminster


Statue of Charles de Gaulle, London

Prompt: How does Statue of Charles de Gaulle, London explain its abstract?

A bronze statue of Charles de Gaulle stands in Carlton Gardens in the City of Westminster, London. Charles de Gaulle, the leader of Free France, set up his government in exile at No. 4 Carlton Gardens.The statue was campaigned for by Mary Soames, the daughter of De Gaulle's contemporary Winston Churchill. It was unveiled by Queen Elizabeth The Queen Mother on 23 June 1993 in the presence of Jacques Chirac, at that time Mayor of Paris, and the President of the National Assembly Philippe Séguin, as well as De Gaulle's chauffeur-translator Olivia Jordan. The architect was Bernard Wiehahn and the sculptor Angela Conner. De Gaulle is portrayed in the uniform of a brigadier-general. The statue is one of 39 in London maintained by English Heritage, the majority of which are in Westminster.The French Embassy commemorates De Gaulle at the statue annually. The President of France, Emmanuel Macron, laid a wreath on his visit to London on 18 June 2020, the 80th anniversary of De Gaulle's resistance speech.The enthusiastic fundraising for the statue by the British public led to calls for a statue of Churchill to be placed in the French capital, which was unveiled in 1998.

Category:Monuments and memorials to Charles de Gaulle

Category:Statues in the City of Westminster

Category:Bronze sculptures in the City of Westminster


Statue of Charles de Gaulle, London

Prompt: In Statue of Charles de Gaulle, London, how is the abstract discussed?

A bronze statue of Charles de Gaulle stands in Carlton Gardens in the City of Westminster, London. Charles de Gaulle, the leader of Free France, set up his government in exile at No. 4 Carlton Gardens.The statue was campaigned for by Mary Soames, the daughter of De Gaulle's contemporary Winston Churchill. It was unveiled by Queen Elizabeth The Queen Mother on 23 June 1993 in the presence of Jacques Chirac, at that time Mayor of Paris, and the President of the National Assembly Philippe Séguin, as well as De Gaulle's chauffeur-translator Olivia Jordan. The architect was Bernard Wiehahn and the sculptor Angela Conner. De Gaulle is portrayed in the uniform of a brigadier-general. The statue is one of 39 in London maintained by English Heritage, the majority of which are in Westminster.The French Embassy commemorates De Gaulle at the statue annually. The President of France, Emmanuel Macron, laid a wreath on his visit to London on 18 June 2020, the 80th anniversary of De Gaulle's resistance speech.The enthusiastic fundraising for the statue by the British public led to calls for a statue of Churchill to be placed in the French capital, which was unveiled in 1998.

Category:Monuments and memorials to Charles de Gaulle

Category:Statues in the City of Westminster

Category:Bronze sculptures in the City of Westminster


Monument to Leonardo da Vinci

Prompt: Focus on Monument to Leonardo da Vinci and explain the abstract.

The monument to Leonardo da Vinci is a commemorative sculptural group in the Piazza della Scala, Milan, unveiled in 1872. It is surmounted with a statue of Leonardo da Vinci, while the base has full-length figures of four of his pupils: Giovanni Antonio Boltraffio, Marco d'Oggiono, Cesare da Sesto, and Gian Giacomo Caprotti (under the name Andrea Salaino).The monument was executed by the sculptor Pietro Magni, beginning in 1858; due to Milan's transition from the Lombardo-Venetian Kingdom to first the Kingdom of Sardinia and then the Kingdom of Italy, funding for its construction had problems and delays. After its inauguration the monument was much criticised because of the choice of location and because it was considered a legacy of the Austrian administration.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: Explain the abstract of this artwork, Monument to Leonardo da Vinci.

The monument to Leonardo da Vinci is a commemorative sculptural group in the Piazza della Scala, Milan, unveiled in 1872. It is surmounted with a statue of Leonardo da Vinci, while the base has full-length figures of four of his pupils: Giovanni Antonio Boltraffio, Marco d'Oggiono, Cesare da Sesto, and Gian Giacomo Caprotti (under the name Andrea Salaino).The monument was executed by the sculptor Pietro Magni, beginning in 1858; due to Milan's transition from the Lombardo-Venetian Kingdom to first the Kingdom of Sardinia and then the Kingdom of Italy, funding for its construction had problems and delays. After its inauguration the monument was much criticised because of the choice of location and because it was considered a legacy of the Austrian administration.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: How does Monument to Leonardo da Vinci explain its abstract?

The monument to Leonardo da Vinci is a commemorative sculptural group in the Piazza della Scala, Milan, unveiled in 1872. It is surmounted with a statue of Leonardo da Vinci, while the base has full-length figures of four of his pupils: Giovanni Antonio Boltraffio, Marco d'Oggiono, Cesare da Sesto, and Gian Giacomo Caprotti (under the name Andrea Salaino).The monument was executed by the sculptor Pietro Magni, beginning in 1858; due to Milan's transition from the Lombardo-Venetian Kingdom to first the Kingdom of Sardinia and then the Kingdom of Italy, funding for its construction had problems and delays. After its inauguration the monument was much criticised because of the choice of location and because it was considered a legacy of the Austrian administration.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: In Monument to Leonardo da Vinci, how is the abstract discussed?

The monument to Leonardo da Vinci is a commemorative sculptural group in the Piazza della Scala, Milan, unveiled in 1872. It is surmounted with a statue of Leonardo da Vinci, while the base has full-length figures of four of his pupils: Giovanni Antonio Boltraffio, Marco d'Oggiono, Cesare da Sesto, and Gian Giacomo Caprotti (under the name Andrea Salaino).The monument was executed by the sculptor Pietro Magni, beginning in 1858; due to Milan's transition from the Lombardo-Venetian Kingdom to first the Kingdom of Sardinia and then the Kingdom of Italy, funding for its construction had problems and delays. After its inauguration the monument was much criticised because of the choice of location and because it was considered a legacy of the Austrian administration.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: In the context of Monument to Leonardo da Vinci, explain the An early project and the History.

In 1834, references are found to a "noble and highly cultured fellow citizen of ours" from Milan who intended to create a bronze monument to Leonardo at his own expense. The anonymous person had also obtained permission from the Austrian government to place the monument in the courtyard of the Palazzo Brera, decorating the access to the double staircase. Monuments to Cesare Beccaria and Giuseppe Parini were also being prepared for the staircase at the time.But the most sumptuous monument for which models are now being made, to be cast in bronze, will be that of the great Leonardo da Vinci, which is being erected by one of our most generous gentlemen at his own expense, not only a lover of fine arts, but professing sculpture for pleasure himself. He did not want the design to be seen or judged until the work was finished, promising to have it completed in three years. Thus all was accepted by the Superiority, who alone will have presented the design to it, and he was granted permission for its placement, in that space of a platform, which divides the two staircases on the ground floor and thus comes to remain in front of the great doorway, in the middle of the facade, so that its view will also be revealed from the street. It is known, however, concerning the design, that it is large and copious in figures, by descriptions interpellated by some, and that it will be very expensive.The granite base was to have been about 2 meters high, with bronze figures about 3 meters high, showing a personification of Immortality in the act of handing a laurel wreath to Leonardo, intent on deep meditations on his books. A bas-relief on the base would have reproduced Leonardo's Last Supper. However, this project was not completed.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: Explain the An early project about the History of this artwork, Monument to Leonardo da Vinci.

In 1834, references are found to a "noble and highly cultured fellow citizen of ours" from Milan who intended to create a bronze monument to Leonardo at his own expense. The anonymous person had also obtained permission from the Austrian government to place the monument in the courtyard of the Palazzo Brera, decorating the access to the double staircase. Monuments to Cesare Beccaria and Giuseppe Parini were also being prepared for the staircase at the time.But the most sumptuous monument for which models are now being made, to be cast in bronze, will be that of the great Leonardo da Vinci, which is being erected by one of our most generous gentlemen at his own expense, not only a lover of fine arts, but professing sculpture for pleasure himself. He did not want the design to be seen or judged until the work was finished, promising to have it completed in three years. Thus all was accepted by the Superiority, who alone will have presented the design to it, and he was granted permission for its placement, in that space of a platform, which divides the two staircases on the ground floor and thus comes to remain in front of the great doorway, in the middle of the facade, so that its view will also be revealed from the street. It is known, however, concerning the design, that it is large and copious in figures, by descriptions interpellated by some, and that it will be very expensive.The granite base was to have been about 2 meters high, with bronze figures about 3 meters high, showing a personification of Immortality in the act of handing a laurel wreath to Leonardo, intent on deep meditations on his books. A bas-relief on the base would have reproduced Leonardo's Last Supper. However, this project was not completed.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: In Monument to Leonardo da Vinci, how is the An early project of the History explained?

In 1834, references are found to a "noble and highly cultured fellow citizen of ours" from Milan who intended to create a bronze monument to Leonardo at his own expense. The anonymous person had also obtained permission from the Austrian government to place the monument in the courtyard of the Palazzo Brera, decorating the access to the double staircase. Monuments to Cesare Beccaria and Giuseppe Parini were also being prepared for the staircase at the time.But the most sumptuous monument for which models are now being made, to be cast in bronze, will be that of the great Leonardo da Vinci, which is being erected by one of our most generous gentlemen at his own expense, not only a lover of fine arts, but professing sculpture for pleasure himself. He did not want the design to be seen or judged until the work was finished, promising to have it completed in three years. Thus all was accepted by the Superiority, who alone will have presented the design to it, and he was granted permission for its placement, in that space of a platform, which divides the two staircases on the ground floor and thus comes to remain in front of the great doorway, in the middle of the facade, so that its view will also be revealed from the street. It is known, however, concerning the design, that it is large and copious in figures, by descriptions interpellated by some, and that it will be very expensive.The granite base was to have been about 2 meters high, with bronze figures about 3 meters high, showing a personification of Immortality in the act of handing a laurel wreath to Leonardo, intent on deep meditations on his books. A bas-relief on the base would have reproduced Leonardo's Last Supper. However, this project was not completed.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: Describe the characteristics of the An early project in Monument to Leonardo da Vinci's History.

In 1834, references are found to a "noble and highly cultured fellow citizen of ours" from Milan who intended to create a bronze monument to Leonardo at his own expense. The anonymous person had also obtained permission from the Austrian government to place the monument in the courtyard of the Palazzo Brera, decorating the access to the double staircase. Monuments to Cesare Beccaria and Giuseppe Parini were also being prepared for the staircase at the time.But the most sumptuous monument for which models are now being made, to be cast in bronze, will be that of the great Leonardo da Vinci, which is being erected by one of our most generous gentlemen at his own expense, not only a lover of fine arts, but professing sculpture for pleasure himself. He did not want the design to be seen or judged until the work was finished, promising to have it completed in three years. Thus all was accepted by the Superiority, who alone will have presented the design to it, and he was granted permission for its placement, in that space of a platform, which divides the two staircases on the ground floor and thus comes to remain in front of the great doorway, in the middle of the facade, so that its view will also be revealed from the street. It is known, however, concerning the design, that it is large and copious in figures, by descriptions interpellated by some, and that it will be very expensive.The granite base was to have been about 2 meters high, with bronze figures about 3 meters high, showing a personification of Immortality in the act of handing a laurel wreath to Leonardo, intent on deep meditations on his books. A bas-relief on the base would have reproduced Leonardo's Last Supper. However, this project was not completed.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: In the context of Monument to Leonardo da Vinci, explain the The 1857 competition and the History.

In 1856, among the competitions of the Academy of Fine Arts in Milan, the design of a monument to Leonardo in the form of a fountain to be placed in the courtyard of the Palazzo Brera was requested.A rich honorary monument to Leonardo da Vinci, composed of marble and bronze, serving at the same time as a source of drinking water, to be placed in the Palazzo Brera facing the main gate, and set where the present trumpet stands. The project may be both in drawing and in relief. The drawing will be of the precise measurement of 0.54 meters by 0.81 meters; the model will be 1.08 meters high, and it will be marked how much there is of marble and how much of bronze.Prize = A gold medal of the intrinsic value of twenty sequins.On February 8, 1857, the Emperor Franz Joseph determined that a proper monument should be erected in Piazza San Fedele with a marble statue 3.6 meters high. A new program was therefore established on October 1, 1857, with a deadline of October 31, 1858.On December 22, 1858, the commission unanimously decided to choose the "Think in marble" model submitted by Pietro Magni; however, it was also pointed out that it would require an expenditure greater than the 60,000 Austrian liras stipulated in the call for proposals. It was also decided that the monument would be destined for Piazza della Scala.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: Explain the The 1857 competition about the History of this artwork, Monument to Leonardo da Vinci.

In 1856, among the competitions of the Academy of Fine Arts in Milan, the design of a monument to Leonardo in the form of a fountain to be placed in the courtyard of the Palazzo Brera was requested.A rich honorary monument to Leonardo da Vinci, composed of marble and bronze, serving at the same time as a source of drinking water, to be placed in the Palazzo Brera facing the main gate, and set where the present trumpet stands. The project may be both in drawing and in relief. The drawing will be of the precise measurement of 0.54 meters by 0.81 meters; the model will be 1.08 meters high, and it will be marked how much there is of marble and how much of bronze.Prize = A gold medal of the intrinsic value of twenty sequins.On February 8, 1857, the Emperor Franz Joseph determined that a proper monument should be erected in Piazza San Fedele with a marble statue 3.6 meters high. A new program was therefore established on October 1, 1857, with a deadline of October 31, 1858.On December 22, 1858, the commission unanimously decided to choose the "Think in marble" model submitted by Pietro Magni; however, it was also pointed out that it would require an expenditure greater than the 60,000 Austrian liras stipulated in the call for proposals. It was also decided that the monument would be destined for Piazza della Scala.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan


Monument to Leonardo da Vinci

Prompt: In Monument to Leonardo da Vinci, how is the The 1857 competition of the History explained?

In 1856, among the competitions of the Academy of Fine Arts in Milan, the design of a monument to Leonardo in the form of a fountain to be placed in the courtyard of the Palazzo Brera was requested.A rich honorary monument to Leonardo da Vinci, composed of marble and bronze, serving at the same time as a source of drinking water, to be placed in the Palazzo Brera facing the main gate, and set where the present trumpet stands. The project may be both in drawing and in relief. The drawing will be of the precise measurement of 0.54 meters by 0.81 meters; the model will be 1.08 meters high, and it will be marked how much there is of marble and how much of bronze.Prize = A gold medal of the intrinsic value of twenty sequins.On February 8, 1857, the Emperor Franz Joseph determined that a proper monument should be erected in Piazza San Fedele with a marble statue 3.6 meters high. A new program was therefore established on October 1, 1857, with a deadline of October 31, 1858.On December 22, 1858, the commission unanimously decided to choose the "Think in marble" model submitted by Pietro Magni; however, it was also pointed out that it would require an expenditure greater than the 60,000 Austrian liras stipulated in the call for proposals. It was also decided that the monument would be destined for Piazza della Scala.

Click on the image to [{{filepath:Monumento_a_Leonardo_da_Vinci_a_Milano.svg}} open the SVG file] and have an interactive three-dimensional view.

The revised design, as it appeared in 1864

Category:Monuments and memorials in Milan