The Baayfalls

Prompt: Focus on The Baayfalls and explain the abstract.

The Baayfalls is a 2017 painting by Jordan Casteel. The 1,400-square-foot mural is currently on display along Manhattan's High Line, in the U.S. state of New York, from December 2019 to December 2020. The painting depicts two street vendors (one male and one female); the woman's T-shirt reads, "I am not interested in competing with anyone. I hope we all make it."

Category:Murals in New York City
Category:2010s murals
Category:Paintings of women
Jordan Casteel
New York
Manhattan
New York (state)
The New York Times
U.S. state
Category:2017 paintings
Category:Murals of black people
Category:Paintings of people
New York City
High Line
T-shirt


The Baayfalls

Prompt: Explain the abstract of this artwork, The Baayfalls.

The Baayfalls is a 2017 painting by Jordan Casteel. The 1,400-square-foot mural is currently on display along Manhattan's High Line, in the U.S. state of New York, from December 2019 to December 2020. The painting depicts two street vendors (one male and one female); the woman's T-shirt reads, "I am not interested in competing with anyone. I hope we all make it."

Category:Murals in New York City
Category:2010s murals
Category:Paintings of women
Jordan Casteel
New York
Manhattan
New York (state)
The New York Times
U.S. state
Category:2017 paintings
Category:Murals of black people
Category:Paintings of people
New York City
High Line
T-shirt


The Baayfalls

Prompt: How does The Baayfalls explain its abstract?

The Baayfalls is a 2017 painting by Jordan Casteel. The 1,400-square-foot mural is currently on display along Manhattan's High Line, in the U.S. state of New York, from December 2019 to December 2020. The painting depicts two street vendors (one male and one female); the woman's T-shirt reads, "I am not interested in competing with anyone. I hope we all make it."

Category:Murals in New York City
Category:2010s murals
Category:Paintings of women
Jordan Casteel
New York
Manhattan
New York (state)
The New York Times
U.S. state
Category:2017 paintings
Category:Murals of black people
Category:Paintings of people
New York City
High Line
T-shirt


The Baayfalls

Prompt: In The Baayfalls, how is the abstract discussed?

The Baayfalls is a 2017 painting by Jordan Casteel. The 1,400-square-foot mural is currently on display along Manhattan's High Line, in the U.S. state of New York, from December 2019 to December 2020. The painting depicts two street vendors (one male and one female); the woman's T-shirt reads, "I am not interested in competing with anyone. I hope we all make it."

Category:Murals in New York City
Category:2010s murals
Category:Paintings of women
Jordan Casteel
New York
Manhattan
New York (state)
The New York Times
U.S. state
Category:2017 paintings
Category:Murals of black people
Category:Paintings of people
New York City
High Line
T-shirt


Statue of Antinous (Delphi)

Prompt: Focus on Statue of Antinous (Delphi) and explain the abstract.

The Statue of Antinous at Delphi is an ancient statue that was found during excavations in Delphi.Antinous was a young Greek of extraordinary beauty from Bithynia, who became the beloved companion or lover of the Roman emperor Hadrian but later died in the Nile under mysterious circumstances.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: Explain the abstract of this artwork, Statue of Antinous (Delphi).

The Statue of Antinous at Delphi is an ancient statue that was found during excavations in Delphi.Antinous was a young Greek of extraordinary beauty from Bithynia, who became the beloved companion or lover of the Roman emperor Hadrian but later died in the Nile under mysterious circumstances.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: How does Statue of Antinous (Delphi) explain its abstract?

The Statue of Antinous at Delphi is an ancient statue that was found during excavations in Delphi.Antinous was a young Greek of extraordinary beauty from Bithynia, who became the beloved companion or lover of the Roman emperor Hadrian but later died in the Nile under mysterious circumstances.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: In Statue of Antinous (Delphi), how is the abstract discussed?

The Statue of Antinous at Delphi is an ancient statue that was found during excavations in Delphi.Antinous was a young Greek of extraordinary beauty from Bithynia, who became the beloved companion or lover of the Roman emperor Hadrian but later died in the Nile under mysterious circumstances.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: Focus on Statue of Antinous (Delphi) and explain the History.

Stricken by the death of Antinous, Hadrian, who was an admirer and a passionate devotee of classical Greek Antiquity, and also a patron of the Oracle of Delphi, gave orders that statues of the beautiful young man, whom he had loved so passionately, should be erected in all sanctuaries and cities of his vast empire. Furthermore he decreed the institution and establishment of Games in honor of Antinous, who thereafter was honoured and worshipped as a god.Thus a statue of Antinous was erected within the sanctuary of Delphi, after his death, in 130 AD, and it was one of the most beautiful and impressive cult statues. During the excavations, the statue was discovered upright on its pedestal, next to the wall of a brick chamber, alongside the holy Temple. Roman coins minted to honour Αntinous show the statue accompanied by the epithet "Propylaeus", from which it is legitimate to infer that it was originally placed at the entrance to the sanctuary. The statue suffered damage and was broken at the height of the knee, so that it had to be moved closer to the temple of Apollo, in a sort of chapel, where it was found during excavations in relatively good condition. Its idealized characteristics as well as the intense polishing of its marble surface with a special oil (which helped it to survive gleaming and in excellent condition) indicate that it belongs to the time of the radical Hadrian.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: Explain the History of this artwork, Statue of Antinous (Delphi).

Stricken by the death of Antinous, Hadrian, who was an admirer and a passionate devotee of classical Greek Antiquity, and also a patron of the Oracle of Delphi, gave orders that statues of the beautiful young man, whom he had loved so passionately, should be erected in all sanctuaries and cities of his vast empire. Furthermore he decreed the institution and establishment of Games in honor of Antinous, who thereafter was honoured and worshipped as a god.Thus a statue of Antinous was erected within the sanctuary of Delphi, after his death, in 130 AD, and it was one of the most beautiful and impressive cult statues. During the excavations, the statue was discovered upright on its pedestal, next to the wall of a brick chamber, alongside the holy Temple. Roman coins minted to honour Αntinous show the statue accompanied by the epithet "Propylaeus", from which it is legitimate to infer that it was originally placed at the entrance to the sanctuary. The statue suffered damage and was broken at the height of the knee, so that it had to be moved closer to the temple of Apollo, in a sort of chapel, where it was found during excavations in relatively good condition. Its idealized characteristics as well as the intense polishing of its marble surface with a special oil (which helped it to survive gleaming and in excellent condition) indicate that it belongs to the time of the radical Hadrian.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: How does Statue of Antinous (Delphi) explain its History?

Stricken by the death of Antinous, Hadrian, who was an admirer and a passionate devotee of classical Greek Antiquity, and also a patron of the Oracle of Delphi, gave orders that statues of the beautiful young man, whom he had loved so passionately, should be erected in all sanctuaries and cities of his vast empire. Furthermore he decreed the institution and establishment of Games in honor of Antinous, who thereafter was honoured and worshipped as a god.Thus a statue of Antinous was erected within the sanctuary of Delphi, after his death, in 130 AD, and it was one of the most beautiful and impressive cult statues. During the excavations, the statue was discovered upright on its pedestal, next to the wall of a brick chamber, alongside the holy Temple. Roman coins minted to honour Αntinous show the statue accompanied by the epithet "Propylaeus", from which it is legitimate to infer that it was originally placed at the entrance to the sanctuary. The statue suffered damage and was broken at the height of the knee, so that it had to be moved closer to the temple of Apollo, in a sort of chapel, where it was found during excavations in relatively good condition. Its idealized characteristics as well as the intense polishing of its marble surface with a special oil (which helped it to survive gleaming and in excellent condition) indicate that it belongs to the time of the radical Hadrian.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: In Statue of Antinous (Delphi), how is the History discussed?

Stricken by the death of Antinous, Hadrian, who was an admirer and a passionate devotee of classical Greek Antiquity, and also a patron of the Oracle of Delphi, gave orders that statues of the beautiful young man, whom he had loved so passionately, should be erected in all sanctuaries and cities of his vast empire. Furthermore he decreed the institution and establishment of Games in honor of Antinous, who thereafter was honoured and worshipped as a god.Thus a statue of Antinous was erected within the sanctuary of Delphi, after his death, in 130 AD, and it was one of the most beautiful and impressive cult statues. During the excavations, the statue was discovered upright on its pedestal, next to the wall of a brick chamber, alongside the holy Temple. Roman coins minted to honour Αntinous show the statue accompanied by the epithet "Propylaeus", from which it is legitimate to infer that it was originally placed at the entrance to the sanctuary. The statue suffered damage and was broken at the height of the knee, so that it had to be moved closer to the temple of Apollo, in a sort of chapel, where it was found during excavations in relatively good condition. Its idealized characteristics as well as the intense polishing of its marble surface with a special oil (which helped it to survive gleaming and in excellent condition) indicate that it belongs to the time of the radical Hadrian.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: Focus on Statue of Antinous (Delphi) and explain the Description.

Taking a closer look at the statue, the head of young Antinous is tilted to the side as if he is in a state of reflection. Around its thick and masterfully carved hair (which surrounds the face and falls on the forehead and cheeks, lending a mournful quality to its beautiful, full of vain youthful figure), several holes can be seen by which a bronze laurel wreath was once attached. His body is carved in representation of that beautiful nudity which belonged to the figures of gods and heroes of classical antiquity, and the posture is typically contrapposto.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: Explain the Description of this artwork, Statue of Antinous (Delphi).

Taking a closer look at the statue, the head of young Antinous is tilted to the side as if he is in a state of reflection. Around its thick and masterfully carved hair (which surrounds the face and falls on the forehead and cheeks, lending a mournful quality to its beautiful, full of vain youthful figure), several holes can be seen by which a bronze laurel wreath was once attached. His body is carved in representation of that beautiful nudity which belonged to the figures of gods and heroes of classical antiquity, and the posture is typically contrapposto.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: How does Statue of Antinous (Delphi) explain its Description?

Taking a closer look at the statue, the head of young Antinous is tilted to the side as if he is in a state of reflection. Around its thick and masterfully carved hair (which surrounds the face and falls on the forehead and cheeks, lending a mournful quality to its beautiful, full of vain youthful figure), several holes can be seen by which a bronze laurel wreath was once attached. His body is carved in representation of that beautiful nudity which belonged to the figures of gods and heroes of classical antiquity, and the posture is typically contrapposto.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Statue of Antinous (Delphi)

Prompt: In Statue of Antinous (Delphi), how is the Description discussed?

Taking a closer look at the statue, the head of young Antinous is tilted to the side as if he is in a state of reflection. Around its thick and masterfully carved hair (which surrounds the face and falls on the forehead and cheeks, lending a mournful quality to its beautiful, full of vain youthful figure), several holes can be seen by which a bronze laurel wreath was once attached. His body is carved in representation of that beautiful nudity which belonged to the figures of gods and heroes of classical antiquity, and the posture is typically contrapposto.

Category:Collection of the Delphi Archaeological Museum

Category:Archaeological discoveries in Central Greece


Samuel Finley Breese Morse (sculpture)

Prompt: Focus on Samuel Finley Breese Morse (sculpture) and explain the abstract.

Samuel Finley Breese Morse is an outdoor bronze sculpture depicting American painter and inventor Samuel Morse by Byron M. Pickett, located in Central Park in Manhattan, New York. The portrait statue measures 13' x 5'6" x 5' and sits on a Quincy granite pedestal. It was dedicated on June 10, 1871.

New York City Department of Parks and Recreation

Category:1871 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

Category:Monuments and memorials in Manhattan

Category:Bronze sculptures in Central Park


Samuel Finley Breese Morse (sculpture)

Prompt: Explain the abstract of this artwork, Samuel Finley Breese Morse (sculpture).

Samuel Finley Breese Morse is an outdoor bronze sculpture depicting American painter and inventor Samuel Morse by Byron M. Pickett, located in Central Park in Manhattan, New York. The portrait statue measures 13' x 5'6" x 5' and sits on a Quincy granite pedestal. It was dedicated on June 10, 1871.

New York City Department of Parks and Recreation

Category:1871 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

Category:Monuments and memorials in Manhattan

Category:Bronze sculptures in Central Park


Samuel Finley Breese Morse (sculpture)

Prompt: How does Samuel Finley Breese Morse (sculpture) explain its abstract?

Samuel Finley Breese Morse is an outdoor bronze sculpture depicting American painter and inventor Samuel Morse by Byron M. Pickett, located in Central Park in Manhattan, New York. The portrait statue measures 13' x 5'6" x 5' and sits on a Quincy granite pedestal. It was dedicated on June 10, 1871.

New York City Department of Parks and Recreation

Category:1871 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

Category:Monuments and memorials in Manhattan

Category:Bronze sculptures in Central Park


Samuel Finley Breese Morse (sculpture)

Prompt: In Samuel Finley Breese Morse (sculpture), how is the abstract discussed?

Samuel Finley Breese Morse is an outdoor bronze sculpture depicting American painter and inventor Samuel Morse by Byron M. Pickett, located in Central Park in Manhattan, New York. The portrait statue measures 13' x 5'6" x 5' and sits on a Quincy granite pedestal. It was dedicated on June 10, 1871.

New York City Department of Parks and Recreation

Category:1871 establishments in New York (state)

Category:Outdoor sculptures in Manhattan

Category:Sculptures of men in New York City

Category:Monuments and memorials in Manhattan

Category:Bronze sculptures in Central Park


Play-Doh (sculpture)

Prompt: Focus on Play-Doh (sculpture) and explain the abstract.

Play-Doh is a painted aluminum sculpture by Jeff Koons, made between 1994 and 2014. Five copies were made, each measuring approximately 120 × 108 × 108 in. (304.8 × 274.3 × 274.3 cm). It is formed of 27 separate pieces of polychromed aluminum and was first publicly shown at the retrospective of Koons' work in 2014 at the Whitney Museum of American Art in NYC.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: Explain the abstract of this artwork, Play-Doh (sculpture).

Play-Doh is a painted aluminum sculpture by Jeff Koons, made between 1994 and 2014. Five copies were made, each measuring approximately 120 × 108 × 108 in. (304.8 × 274.3 × 274.3 cm). It is formed of 27 separate pieces of polychromed aluminum and was first publicly shown at the retrospective of Koons' work in 2014 at the Whitney Museum of American Art in NYC.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: How does Play-Doh (sculpture) explain its abstract?

Play-Doh is a painted aluminum sculpture by Jeff Koons, made between 1994 and 2014. Five copies were made, each measuring approximately 120 × 108 × 108 in. (304.8 × 274.3 × 274.3 cm). It is formed of 27 separate pieces of polychromed aluminum and was first publicly shown at the retrospective of Koons' work in 2014 at the Whitney Museum of American Art in NYC.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: In Play-Doh (sculpture), how is the abstract discussed?

Play-Doh is a painted aluminum sculpture by Jeff Koons, made between 1994 and 2014. Five copies were made, each measuring approximately 120 × 108 × 108 in. (304.8 × 274.3 × 274.3 cm). It is formed of 27 separate pieces of polychromed aluminum and was first publicly shown at the retrospective of Koons' work in 2014 at the Whitney Museum of American Art in NYC.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: Focus on Play-Doh (sculpture) and explain the Analysis.

The title refers to the modeling compound named Play-Doh which is used for arts and crafts projects by young children.In reference to the sculpture Play-Doh, Koons has said that he tries to "make objects that you can't make any judgements about". In the same commentary Koons said "If you take Play-Doh apart... they're organic shapes that all stack on top of each other... so that these surfaces are meeting on the inside and you never see that... the public doesn't see it but I think that you feel it and it has kind of a Freudian quality to it. I really thought that Play-Doh captures the twentieth century and you have this aspect of Freud with this mound of Play-Doh and the way the organic shapes are on top of each other... and within art you have this abstract expressionism... you have this aspect of DeKooning or something..."

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: Explain the Analysis of this artwork, Play-Doh (sculpture).

The title refers to the modeling compound named Play-Doh which is used for arts and crafts projects by young children.In reference to the sculpture Play-Doh, Koons has said that he tries to "make objects that you can't make any judgements about". In the same commentary Koons said "If you take Play-Doh apart... they're organic shapes that all stack on top of each other... so that these surfaces are meeting on the inside and you never see that... the public doesn't see it but I think that you feel it and it has kind of a Freudian quality to it. I really thought that Play-Doh captures the twentieth century and you have this aspect of Freud with this mound of Play-Doh and the way the organic shapes are on top of each other... and within art you have this abstract expressionism... you have this aspect of DeKooning or something..."

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: How does Play-Doh (sculpture) explain its Analysis?

The title refers to the modeling compound named Play-Doh which is used for arts and crafts projects by young children.In reference to the sculpture Play-Doh, Koons has said that he tries to "make objects that you can't make any judgements about". In the same commentary Koons said "If you take Play-Doh apart... they're organic shapes that all stack on top of each other... so that these surfaces are meeting on the inside and you never see that... the public doesn't see it but I think that you feel it and it has kind of a Freudian quality to it. I really thought that Play-Doh captures the twentieth century and you have this aspect of Freud with this mound of Play-Doh and the way the organic shapes are on top of each other... and within art you have this abstract expressionism... you have this aspect of DeKooning or something..."

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: In Play-Doh (sculpture), how is the Analysis discussed?

The title refers to the modeling compound named Play-Doh which is used for arts and crafts projects by young children.In reference to the sculpture Play-Doh, Koons has said that he tries to "make objects that you can't make any judgements about". In the same commentary Koons said "If you take Play-Doh apart... they're organic shapes that all stack on top of each other... so that these surfaces are meeting on the inside and you never see that... the public doesn't see it but I think that you feel it and it has kind of a Freudian quality to it. I really thought that Play-Doh captures the twentieth century and you have this aspect of Freud with this mound of Play-Doh and the way the organic shapes are on top of each other... and within art you have this abstract expressionism... you have this aspect of DeKooning or something..."

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: Focus on Play-Doh (sculpture) and explain the Concept.

Koons explains in Highsnobiety, in a video associated with Christie's, that he originally conceived "Play-Doh" to be a polyethylene sculpture. Koons eventually felt that he could not get the undercuts that he wanted using polyethylene. Koons was unwilling to compromise on the superrealism that he aimed for and opted instead for aluminum. Koons wanted the sculpture to be believable as a mound of Play-Doh. Koons was concerned in the sculpture's development that angles not be too sharp and organic forms not be too organic. This was with the aim of reproducing the appearance of the "Play-Doh" modeling compound on which the sculpture is based.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: Explain the Concept of this artwork, Play-Doh (sculpture).

Koons explains in Highsnobiety, in a video associated with Christie's, that he originally conceived "Play-Doh" to be a polyethylene sculpture. Koons eventually felt that he could not get the undercuts that he wanted using polyethylene. Koons was unwilling to compromise on the superrealism that he aimed for and opted instead for aluminum. Koons wanted the sculpture to be believable as a mound of Play-Doh. Koons was concerned in the sculpture's development that angles not be too sharp and organic forms not be too organic. This was with the aim of reproducing the appearance of the "Play-Doh" modeling compound on which the sculpture is based.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: How does Play-Doh (sculpture) explain its Concept?

Koons explains in Highsnobiety, in a video associated with Christie's, that he originally conceived "Play-Doh" to be a polyethylene sculpture. Koons eventually felt that he could not get the undercuts that he wanted using polyethylene. Koons was unwilling to compromise on the superrealism that he aimed for and opted instead for aluminum. Koons wanted the sculpture to be believable as a mound of Play-Doh. Koons was concerned in the sculpture's development that angles not be too sharp and organic forms not be too organic. This was with the aim of reproducing the appearance of the "Play-Doh" modeling compound on which the sculpture is based.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: In Play-Doh (sculpture), how is the Concept discussed?

Koons explains in Highsnobiety, in a video associated with Christie's, that he originally conceived "Play-Doh" to be a polyethylene sculpture. Koons eventually felt that he could not get the undercuts that he wanted using polyethylene. Koons was unwilling to compromise on the superrealism that he aimed for and opted instead for aluminum. Koons wanted the sculpture to be believable as a mound of Play-Doh. Koons was concerned in the sculpture's development that angles not be too sharp and organic forms not be too organic. This was with the aim of reproducing the appearance of the "Play-Doh" modeling compound on which the sculpture is based.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: Focus on Play-Doh (sculpture) and explain the Exhibition.

One of the five iterations of the sculpture was auctioned for 20 million dollars on May 17, 2018.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: Explain the Exhibition of this artwork, Play-Doh (sculpture).

One of the five iterations of the sculpture was auctioned for 20 million dollars on May 17, 2018.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: How does Play-Doh (sculpture) explain its Exhibition?

One of the five iterations of the sculpture was auctioned for 20 million dollars on May 17, 2018.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Play-Doh (sculpture)

Prompt: In Play-Doh (sculpture), how is the Exhibition discussed?

One of the five iterations of the sculpture was auctioned for 20 million dollars on May 17, 2018.

Christie's
Aluminium
Whitney Museum of American Art
superrealism
Category:Sculptures by Jeff Koons
polyethylene
Jeff Koons
undercuts
Category:Contemporary works of art
abstract expressionism
Whitney Museum
DeKooning
aluminum
Willem de Kooning
Hyperrealism (visual arts)
Category:Aluminium sculptures
Category:Whitney Museum of American Art
Play-Doh
Undercut (molding)
Highsnobiety
Category:1994 sculptures


Prompt: Focus on Statues of Saints Norbert, Wenceslaus and Sigismund and explain the abstract.

The statues of Saints Norbert, Wenceslaus and Sigismund (Czech: Sousoší svatého Norberta, Václava a Zikmunda) are outdoor sculptures installed on the north side of the Charles Bridge in Prague, Czech Republic. They were created by Josef Max.

Category:Monuments and memorials in Prague


Prompt: Explain the abstract of this artwork, Statues of Saints Norbert, Wenceslaus and Sigismund.

The statues of Saints Norbert, Wenceslaus and Sigismund (Czech: Sousoší svatého Norberta, Václava a Zikmunda) are outdoor sculptures installed on the north side of the Charles Bridge in Prague, Czech Republic. They were created by Josef Max.

Category:Monuments and memorials in Prague


Prompt: How does Statues of Saints Norbert, Wenceslaus and Sigismund explain its abstract?

The statues of Saints Norbert, Wenceslaus and Sigismund (Czech: Sousoší svatého Norberta, Václava a Zikmunda) are outdoor sculptures installed on the north side of the Charles Bridge in Prague, Czech Republic. They were created by Josef Max.

Category:Monuments and memorials in Prague


Prompt: In Statues of Saints Norbert, Wenceslaus and Sigismund, how is the abstract discussed?

The statues of Saints Norbert, Wenceslaus and Sigismund (Czech: Sousoší svatého Norberta, Václava a Zikmunda) are outdoor sculptures installed on the north side of the Charles Bridge in Prague, Czech Republic. They were created by Josef Max.

Category:Monuments and memorials in Prague


Pisupo Lua Afe (Corned Beef 2000)

Prompt: Focus on Pisupo Lua Afe (Corned Beef 2000) and explain the abstract.

Pisupo Lua Afe (Corned Beef 2000) is a pop art sculpture created by the New Zealand artist Michel Tuffery in 1994. It is the first in a series of tin animals, made from the packaging of foods common in Samoa. Addressing his Samoan heritage, neocolonialism and the distress of indigenous peoples in the Pacific, it is one of his most celebrated works. "Does foreign intervention encourage cultural and economic independence - or dependence?" was the question posed by Tuffery when the sculpture was unveiled at the exhibition Bottled Ocean, curated by Jim Vivieaere, at City Gallery Wellington  in 1994. A pop art sculpture unique to the predominately Western art movement, Pisupo Lua Afe consists of a bull made of hundreds of tinned corned beef cans held together by rivets. The artwork addresses the plight of traditional Samoan cuisine and health due to the introduction of pisupo- unhealthy, commercial tinned food-  by Europeans. Now a major part of Samoan culture, foreign-produced pisupo such as corned beef has become ubiquitous across their communities both in Samoa and across the diaspora, with gifting of these items customary at weddings and birthdays. This unhealthy dependence on predominately New Zealand, Australian and American companies is inherently neocolonial in nature, showing how much lobbying power New Zealand still has in Samoa almost 60 years since independence.  Tuffery aimed to portray Samoans as courageous despite the power that white-owned foreign food manufacturers wield. The bull is both representative of the animal corned beef comes from (and the environmental impact it has in Samoa, an especially climate crisis-vulnerable country), and the strength of the Samoan people to overcome colonialism. The work is on display at Te Papa Tongarewa, New Zealand's national museum and the 17th-most visited art museum in the world.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: Explain the abstract of this artwork, Pisupo Lua Afe (Corned Beef 2000).

Pisupo Lua Afe (Corned Beef 2000) is a pop art sculpture created by the New Zealand artist Michel Tuffery in 1994. It is the first in a series of tin animals, made from the packaging of foods common in Samoa. Addressing his Samoan heritage, neocolonialism and the distress of indigenous peoples in the Pacific, it is one of his most celebrated works. "Does foreign intervention encourage cultural and economic independence - or dependence?" was the question posed by Tuffery when the sculpture was unveiled at the exhibition Bottled Ocean, curated by Jim Vivieaere, at City Gallery Wellington  in 1994. A pop art sculpture unique to the predominately Western art movement, Pisupo Lua Afe consists of a bull made of hundreds of tinned corned beef cans held together by rivets. The artwork addresses the plight of traditional Samoan cuisine and health due to the introduction of pisupo- unhealthy, commercial tinned food-  by Europeans. Now a major part of Samoan culture, foreign-produced pisupo such as corned beef has become ubiquitous across their communities both in Samoa and across the diaspora, with gifting of these items customary at weddings and birthdays. This unhealthy dependence on predominately New Zealand, Australian and American companies is inherently neocolonial in nature, showing how much lobbying power New Zealand still has in Samoa almost 60 years since independence.  Tuffery aimed to portray Samoans as courageous despite the power that white-owned foreign food manufacturers wield. The bull is both representative of the animal corned beef comes from (and the environmental impact it has in Samoa, an especially climate crisis-vulnerable country), and the strength of the Samoan people to overcome colonialism. The work is on display at Te Papa Tongarewa, New Zealand's national museum and the 17th-most visited art museum in the world.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: How does Pisupo Lua Afe (Corned Beef 2000) explain its abstract?

Pisupo Lua Afe (Corned Beef 2000) is a pop art sculpture created by the New Zealand artist Michel Tuffery in 1994. It is the first in a series of tin animals, made from the packaging of foods common in Samoa. Addressing his Samoan heritage, neocolonialism and the distress of indigenous peoples in the Pacific, it is one of his most celebrated works. "Does foreign intervention encourage cultural and economic independence - or dependence?" was the question posed by Tuffery when the sculpture was unveiled at the exhibition Bottled Ocean, curated by Jim Vivieaere, at City Gallery Wellington  in 1994. A pop art sculpture unique to the predominately Western art movement, Pisupo Lua Afe consists of a bull made of hundreds of tinned corned beef cans held together by rivets. The artwork addresses the plight of traditional Samoan cuisine and health due to the introduction of pisupo- unhealthy, commercial tinned food-  by Europeans. Now a major part of Samoan culture, foreign-produced pisupo such as corned beef has become ubiquitous across their communities both in Samoa and across the diaspora, with gifting of these items customary at weddings and birthdays. This unhealthy dependence on predominately New Zealand, Australian and American companies is inherently neocolonial in nature, showing how much lobbying power New Zealand still has in Samoa almost 60 years since independence.  Tuffery aimed to portray Samoans as courageous despite the power that white-owned foreign food manufacturers wield. The bull is both representative of the animal corned beef comes from (and the environmental impact it has in Samoa, an especially climate crisis-vulnerable country), and the strength of the Samoan people to overcome colonialism. The work is on display at Te Papa Tongarewa, New Zealand's national museum and the 17th-most visited art museum in the world.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: In Pisupo Lua Afe (Corned Beef 2000), how is the abstract discussed?

Pisupo Lua Afe (Corned Beef 2000) is a pop art sculpture created by the New Zealand artist Michel Tuffery in 1994. It is the first in a series of tin animals, made from the packaging of foods common in Samoa. Addressing his Samoan heritage, neocolonialism and the distress of indigenous peoples in the Pacific, it is one of his most celebrated works. "Does foreign intervention encourage cultural and economic independence - or dependence?" was the question posed by Tuffery when the sculpture was unveiled at the exhibition Bottled Ocean, curated by Jim Vivieaere, at City Gallery Wellington  in 1994. A pop art sculpture unique to the predominately Western art movement, Pisupo Lua Afe consists of a bull made of hundreds of tinned corned beef cans held together by rivets. The artwork addresses the plight of traditional Samoan cuisine and health due to the introduction of pisupo- unhealthy, commercial tinned food-  by Europeans. Now a major part of Samoan culture, foreign-produced pisupo such as corned beef has become ubiquitous across their communities both in Samoa and across the diaspora, with gifting of these items customary at weddings and birthdays. This unhealthy dependence on predominately New Zealand, Australian and American companies is inherently neocolonial in nature, showing how much lobbying power New Zealand still has in Samoa almost 60 years since independence.  Tuffery aimed to portray Samoans as courageous despite the power that white-owned foreign food manufacturers wield. The bull is both representative of the animal corned beef comes from (and the environmental impact it has in Samoa, an especially climate crisis-vulnerable country), and the strength of the Samoan people to overcome colonialism. The work is on display at Te Papa Tongarewa, New Zealand's national museum and the 17th-most visited art museum in the world.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: Focus on Pisupo Lua Afe (Corned Beef 2000) and explain the Description.

Taking an influence from pop art, the work consists of a bull made of hundreds of tinned corned beef cans held together by rivets. Pisupo Lua Afe concerns New Zealand's questionable trade practices across the South Pacific, where it wields significant influence as a regional power. For Tuffery, corned beef (or pisupo in Samoan) is representative of the high-fat, unhealthy foods foreign companies have introduced to Samoa. These foods have led to disproportionately high incidences of diabetes and heart disease in Pacific Island populations, as diets formerly high in locally grown fruits and vegetables, seafood, coconut milk and flesh, have given way to cheap, imported foodstuffs. Neocolonialism is addressed here via the choice of corned beef; after Samoa's independence from New Zealand in 1962, food businesses in the latter country have greatly contributed to an unhealthy diet that many Samoans have fallen victim to. Not only is corned beef a favourite food source in the Islands, it has also become a ubiquitous part of the ceremonial gift economy.  Such brands of corned beef Tuffery aimed to criticise included Pacific, an Australian brand owned by American conglomerate Kraft-Heinz which specifically markets itself towards Pacific Islanders. It has been maligned for doing so, and also for its use of name "Pacific" as misleading people into thinking the brand is Pasifika-owned. However, the Fijian-made brand Golden Country was the one used in the art, but since the introduction of European cattle to the pacific has degraded Pacific landscapes nonetheless, using a non-European brand did not affect the potency of the message Tuffery was conveying.  The symbolism of the bull is used to portray both the animal from which corned beef is derived, and the strength and courage of the Samoan people to overcome colonialism. The latter of which was both a hallmark of New Zealand's colonial rule in Samoa after gaining it from German rule as a League of Nations mandate, and still affects Samoan New Zealanders resident in the country today. Tuffery was also interested in the impact of the introduction of cattle to New Zealand and the Pacific Islands; the hard, abrasive tin is used in the artwork also to symbolise the damage these industries have. The endemic plants, landscapes and waterways of these countries are still being negatively affected by this colonial decision. Additionally, Tuffery was interested in how processed meat products such as corned beef have negatively impacted traditional Samoan food production, and have led to a "throw-away mentality".

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: Explain the Description of this artwork, Pisupo Lua Afe (Corned Beef 2000).

Taking an influence from pop art, the work consists of a bull made of hundreds of tinned corned beef cans held together by rivets. Pisupo Lua Afe concerns New Zealand's questionable trade practices across the South Pacific, where it wields significant influence as a regional power. For Tuffery, corned beef (or pisupo in Samoan) is representative of the high-fat, unhealthy foods foreign companies have introduced to Samoa. These foods have led to disproportionately high incidences of diabetes and heart disease in Pacific Island populations, as diets formerly high in locally grown fruits and vegetables, seafood, coconut milk and flesh, have given way to cheap, imported foodstuffs. Neocolonialism is addressed here via the choice of corned beef; after Samoa's independence from New Zealand in 1962, food businesses in the latter country have greatly contributed to an unhealthy diet that many Samoans have fallen victim to. Not only is corned beef a favourite food source in the Islands, it has also become a ubiquitous part of the ceremonial gift economy.  Such brands of corned beef Tuffery aimed to criticise included Pacific, an Australian brand owned by American conglomerate Kraft-Heinz which specifically markets itself towards Pacific Islanders. It has been maligned for doing so, and also for its use of name "Pacific" as misleading people into thinking the brand is Pasifika-owned. However, the Fijian-made brand Golden Country was the one used in the art, but since the introduction of European cattle to the pacific has degraded Pacific landscapes nonetheless, using a non-European brand did not affect the potency of the message Tuffery was conveying.  The symbolism of the bull is used to portray both the animal from which corned beef is derived, and the strength and courage of the Samoan people to overcome colonialism. The latter of which was both a hallmark of New Zealand's colonial rule in Samoa after gaining it from German rule as a League of Nations mandate, and still affects Samoan New Zealanders resident in the country today. Tuffery was also interested in the impact of the introduction of cattle to New Zealand and the Pacific Islands; the hard, abrasive tin is used in the artwork also to symbolise the damage these industries have. The endemic plants, landscapes and waterways of these countries are still being negatively affected by this colonial decision. Additionally, Tuffery was interested in how processed meat products such as corned beef have negatively impacted traditional Samoan food production, and have led to a "throw-away mentality".

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: How does Pisupo Lua Afe (Corned Beef 2000) explain its Description?

Taking an influence from pop art, the work consists of a bull made of hundreds of tinned corned beef cans held together by rivets. Pisupo Lua Afe concerns New Zealand's questionable trade practices across the South Pacific, where it wields significant influence as a regional power. For Tuffery, corned beef (or pisupo in Samoan) is representative of the high-fat, unhealthy foods foreign companies have introduced to Samoa. These foods have led to disproportionately high incidences of diabetes and heart disease in Pacific Island populations, as diets formerly high in locally grown fruits and vegetables, seafood, coconut milk and flesh, have given way to cheap, imported foodstuffs. Neocolonialism is addressed here via the choice of corned beef; after Samoa's independence from New Zealand in 1962, food businesses in the latter country have greatly contributed to an unhealthy diet that many Samoans have fallen victim to. Not only is corned beef a favourite food source in the Islands, it has also become a ubiquitous part of the ceremonial gift economy.  Such brands of corned beef Tuffery aimed to criticise included Pacific, an Australian brand owned by American conglomerate Kraft-Heinz which specifically markets itself towards Pacific Islanders. It has been maligned for doing so, and also for its use of name "Pacific" as misleading people into thinking the brand is Pasifika-owned. However, the Fijian-made brand Golden Country was the one used in the art, but since the introduction of European cattle to the pacific has degraded Pacific landscapes nonetheless, using a non-European brand did not affect the potency of the message Tuffery was conveying.  The symbolism of the bull is used to portray both the animal from which corned beef is derived, and the strength and courage of the Samoan people to overcome colonialism. The latter of which was both a hallmark of New Zealand's colonial rule in Samoa after gaining it from German rule as a League of Nations mandate, and still affects Samoan New Zealanders resident in the country today. Tuffery was also interested in the impact of the introduction of cattle to New Zealand and the Pacific Islands; the hard, abrasive tin is used in the artwork also to symbolise the damage these industries have. The endemic plants, landscapes and waterways of these countries are still being negatively affected by this colonial decision. Additionally, Tuffery was interested in how processed meat products such as corned beef have negatively impacted traditional Samoan food production, and have led to a "throw-away mentality".

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: In Pisupo Lua Afe (Corned Beef 2000), how is the Description discussed?

Taking an influence from pop art, the work consists of a bull made of hundreds of tinned corned beef cans held together by rivets. Pisupo Lua Afe concerns New Zealand's questionable trade practices across the South Pacific, where it wields significant influence as a regional power. For Tuffery, corned beef (or pisupo in Samoan) is representative of the high-fat, unhealthy foods foreign companies have introduced to Samoa. These foods have led to disproportionately high incidences of diabetes and heart disease in Pacific Island populations, as diets formerly high in locally grown fruits and vegetables, seafood, coconut milk and flesh, have given way to cheap, imported foodstuffs. Neocolonialism is addressed here via the choice of corned beef; after Samoa's independence from New Zealand in 1962, food businesses in the latter country have greatly contributed to an unhealthy diet that many Samoans have fallen victim to. Not only is corned beef a favourite food source in the Islands, it has also become a ubiquitous part of the ceremonial gift economy.  Such brands of corned beef Tuffery aimed to criticise included Pacific, an Australian brand owned by American conglomerate Kraft-Heinz which specifically markets itself towards Pacific Islanders. It has been maligned for doing so, and also for its use of name "Pacific" as misleading people into thinking the brand is Pasifika-owned. However, the Fijian-made brand Golden Country was the one used in the art, but since the introduction of European cattle to the pacific has degraded Pacific landscapes nonetheless, using a non-European brand did not affect the potency of the message Tuffery was conveying.  The symbolism of the bull is used to portray both the animal from which corned beef is derived, and the strength and courage of the Samoan people to overcome colonialism. The latter of which was both a hallmark of New Zealand's colonial rule in Samoa after gaining it from German rule as a League of Nations mandate, and still affects Samoan New Zealanders resident in the country today. Tuffery was also interested in the impact of the introduction of cattle to New Zealand and the Pacific Islands; the hard, abrasive tin is used in the artwork also to symbolise the damage these industries have. The endemic plants, landscapes and waterways of these countries are still being negatively affected by this colonial decision. Additionally, Tuffery was interested in how processed meat products such as corned beef have negatively impacted traditional Samoan food production, and have led to a "throw-away mentality".

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: Focus on Pisupo Lua Afe (Corned Beef 2000) and explain the Reception and continuation of series.

Pisupo Lua Afe (Corned Beef 2000) has been the subject of wide popular and critical acclaim. Critics commended the originality of Tuffery to use pop art in a way that addressed racism and economic dependence, and how the aesthetic simplicity of the work meant it could appeal towards children, as well as adults. The appeal to children persists; an episode of the TVNZ 7 children's series Tales From Te Papa was centred on the artwork, and the artwork is located near the Samoan-themed children's area of Te Papa.In her writeup for the Christchurch Art Gallery, curator Jennifer Hay described the work as a “wry socio-political message” concerning the place of foreign imported goods in Samoa as part of the larger presence of colonialism in the Pacific Islands. The work has become possibly Tuffery's best known, and is considered an important work of both Pop art and Kiwiana.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: Explain the Reception and continuation of series of this artwork, Pisupo Lua Afe (Corned Beef 2000).

Pisupo Lua Afe (Corned Beef 2000) has been the subject of wide popular and critical acclaim. Critics commended the originality of Tuffery to use pop art in a way that addressed racism and economic dependence, and how the aesthetic simplicity of the work meant it could appeal towards children, as well as adults. The appeal to children persists; an episode of the TVNZ 7 children's series Tales From Te Papa was centred on the artwork, and the artwork is located near the Samoan-themed children's area of Te Papa.In her writeup for the Christchurch Art Gallery, curator Jennifer Hay described the work as a “wry socio-political message” concerning the place of foreign imported goods in Samoa as part of the larger presence of colonialism in the Pacific Islands. The work has become possibly Tuffery's best known, and is considered an important work of both Pop art and Kiwiana.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: How does Pisupo Lua Afe (Corned Beef 2000) explain its Reception and continuation of series?

Pisupo Lua Afe (Corned Beef 2000) has been the subject of wide popular and critical acclaim. Critics commended the originality of Tuffery to use pop art in a way that addressed racism and economic dependence, and how the aesthetic simplicity of the work meant it could appeal towards children, as well as adults. The appeal to children persists; an episode of the TVNZ 7 children's series Tales From Te Papa was centred on the artwork, and the artwork is located near the Samoan-themed children's area of Te Papa.In her writeup for the Christchurch Art Gallery, curator Jennifer Hay described the work as a “wry socio-political message” concerning the place of foreign imported goods in Samoa as part of the larger presence of colonialism in the Pacific Islands. The work has become possibly Tuffery's best known, and is considered an important work of both Pop art and Kiwiana.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: In Pisupo Lua Afe (Corned Beef 2000), how is the Reception and continuation of series discussed?

Pisupo Lua Afe (Corned Beef 2000) has been the subject of wide popular and critical acclaim. Critics commended the originality of Tuffery to use pop art in a way that addressed racism and economic dependence, and how the aesthetic simplicity of the work meant it could appeal towards children, as well as adults. The appeal to children persists; an episode of the TVNZ 7 children's series Tales From Te Papa was centred on the artwork, and the artwork is located near the Samoan-themed children's area of Te Papa.In her writeup for the Christchurch Art Gallery, curator Jennifer Hay described the work as a “wry socio-political message” concerning the place of foreign imported goods in Samoa as part of the larger presence of colonialism in the Pacific Islands. The work has become possibly Tuffery's best known, and is considered an important work of both Pop art and Kiwiana.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: In the context of Pisupo Lua Afe (Corned Beef 2000), explain the The Povi Pisupo series and the Reception and continuation of series.

The positive reception to Pisupo Lua Afe encouraged Tuffery to create more animal-based works made out of food tins. With more bulls to work with, Tuffery decided to create a piece of performance art entitled Povi tau vaga (The bull challenge), for the Wellington opening of the exhibition for the continued Povi Pisupo series. Working with artist Patrice Kaikilekofe, his bulls, accompanied by Samoan drumming and dancing, were wheeled along a route through central Wellington to the City Gallery in Te Ngākau Civic Square, where a "bullfight" commenced. This time, they included a wooden frame and wheels, so it could be transported more easily. Fireworks and Christmas tree lights were placed inside these powered bulls, showing a frightening mechanical display of colour. This performance was widely popular, prompting Tuffery to repeat the event for both the Christchurch Art Gallery and the Queensland Art Gallery in Brisbane in 1999, both times with the new bull Povi Christkeke (Christchurch Bull). In Brisbane, the bulls were raced around inside the gallery while fireworks exploded, surprisingly causing no damage; this fiery spark is said to sum up Tuffery as a groundbreaking artist.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: Explain the The Povi Pisupo series about the Reception and continuation of series of this artwork, Pisupo Lua Afe (Corned Beef 2000).

The positive reception to Pisupo Lua Afe encouraged Tuffery to create more animal-based works made out of food tins. With more bulls to work with, Tuffery decided to create a piece of performance art entitled Povi tau vaga (The bull challenge), for the Wellington opening of the exhibition for the continued Povi Pisupo series. Working with artist Patrice Kaikilekofe, his bulls, accompanied by Samoan drumming and dancing, were wheeled along a route through central Wellington to the City Gallery in Te Ngākau Civic Square, where a "bullfight" commenced. This time, they included a wooden frame and wheels, so it could be transported more easily. Fireworks and Christmas tree lights were placed inside these powered bulls, showing a frightening mechanical display of colour. This performance was widely popular, prompting Tuffery to repeat the event for both the Christchurch Art Gallery and the Queensland Art Gallery in Brisbane in 1999, both times with the new bull Povi Christkeke (Christchurch Bull). In Brisbane, the bulls were raced around inside the gallery while fireworks exploded, surprisingly causing no damage; this fiery spark is said to sum up Tuffery as a groundbreaking artist.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: In Pisupo Lua Afe (Corned Beef 2000), how is the The Povi Pisupo series of the Reception and continuation of series explained?

The positive reception to Pisupo Lua Afe encouraged Tuffery to create more animal-based works made out of food tins. With more bulls to work with, Tuffery decided to create a piece of performance art entitled Povi tau vaga (The bull challenge), for the Wellington opening of the exhibition for the continued Povi Pisupo series. Working with artist Patrice Kaikilekofe, his bulls, accompanied by Samoan drumming and dancing, were wheeled along a route through central Wellington to the City Gallery in Te Ngākau Civic Square, where a "bullfight" commenced. This time, they included a wooden frame and wheels, so it could be transported more easily. Fireworks and Christmas tree lights were placed inside these powered bulls, showing a frightening mechanical display of colour. This performance was widely popular, prompting Tuffery to repeat the event for both the Christchurch Art Gallery and the Queensland Art Gallery in Brisbane in 1999, both times with the new bull Povi Christkeke (Christchurch Bull). In Brisbane, the bulls were raced around inside the gallery while fireworks exploded, surprisingly causing no damage; this fiery spark is said to sum up Tuffery as a groundbreaking artist.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


Pisupo Lua Afe (Corned Beef 2000)

Prompt: Describe the characteristics of the The Povi Pisupo series in Pisupo Lua Afe (Corned Beef 2000)'s Reception and continuation of series.

The positive reception to Pisupo Lua Afe encouraged Tuffery to create more animal-based works made out of food tins. With more bulls to work with, Tuffery decided to create a piece of performance art entitled Povi tau vaga (The bull challenge), for the Wellington opening of the exhibition for the continued Povi Pisupo series. Working with artist Patrice Kaikilekofe, his bulls, accompanied by Samoan drumming and dancing, were wheeled along a route through central Wellington to the City Gallery in Te Ngākau Civic Square, where a "bullfight" commenced. This time, they included a wooden frame and wheels, so it could be transported more easily. Fireworks and Christmas tree lights were placed inside these powered bulls, showing a frightening mechanical display of colour. This performance was widely popular, prompting Tuffery to repeat the event for both the Christchurch Art Gallery and the Queensland Art Gallery in Brisbane in 1999, both times with the new bull Povi Christkeke (Christchurch Bull). In Brisbane, the bulls were raced around inside the gallery while fireworks exploded, surprisingly causing no damage; this fiery spark is said to sum up Tuffery as a groundbreaking artist.

Category:New Zealand contemporary works of art

File:Michel Tuffrey and two of his bulls.png

17th-most visited art museum in the world

Michel Tuffrey with two additional bulls from the ''Pisupo Lua Afe'' series

"There was fire, there was light..." Tuffrey's Wellington bullfight in process, 1996.

Artwork description, [[Museum of New Zealand Te Papa Tongarewa

Category:Animal sculptures in New Zealand


El Rio de Luz

Prompt: Focus on El Rio de Luz and explain the abstract.

El Rio de Luz (Spanish for The River of Light; also known as Morning in the Tropics) is an 1877 oil painting by American landscape artist Frederic Edwin Church. It is his last large-scale painting of South America, following pieces such as The Andes of Ecuador (1855) and The Heart of the Andes (1859). Like them, the painting is a composite of the many sketches and drawings Church made while traveling in South America twenty years earlier.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Preservation Society of Newport County, Rhode Island

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: Explain the abstract of this artwork, El Rio de Luz.

El Rio de Luz (Spanish for The River of Light; also known as Morning in the Tropics) is an 1877 oil painting by American landscape artist Frederic Edwin Church. It is his last large-scale painting of South America, following pieces such as The Andes of Ecuador (1855) and The Heart of the Andes (1859). Like them, the painting is a composite of the many sketches and drawings Church made while traveling in South America twenty years earlier.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Preservation Society of Newport County, Rhode Island

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: How does El Rio de Luz explain its abstract?

El Rio de Luz (Spanish for The River of Light; also known as Morning in the Tropics) is an 1877 oil painting by American landscape artist Frederic Edwin Church. It is his last large-scale painting of South America, following pieces such as The Andes of Ecuador (1855) and The Heart of the Andes (1859). Like them, the painting is a composite of the many sketches and drawings Church made while traveling in South America twenty years earlier.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Preservation Society of Newport County, Rhode Island

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: In El Rio de Luz, how is the abstract discussed?

El Rio de Luz (Spanish for The River of Light; also known as Morning in the Tropics) is an 1877 oil painting by American landscape artist Frederic Edwin Church. It is his last large-scale painting of South America, following pieces such as The Andes of Ecuador (1855) and The Heart of the Andes (1859). Like them, the painting is a composite of the many sketches and drawings Church made while traveling in South America twenty years earlier.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Preservation Society of Newport County, Rhode Island

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: Focus on El Rio de Luz and explain the Analysis.

The work differs in important ways from Church's earlier, monumental South American canvases. While a high degree of realism and attention to detail remains, the landscape in The River of Light is more local; it no longer attempts to capture numerous topographies or climate zones in one image. As a result, the composition is more intimate than other South American works. The National Gallery of Art notes that "the tightly focused realism, the overall tonal harmony and restrained coloration, and the compositional unity all lend a remarkable cohesiveness to the work". The vantage point is no longer high and detached, but seemingly low enough that a viewer might stand there. Details include a canoeist, a flock of birds over the river and two others (possibly the amethyst woodstar hummingbird) perched close to the viewer, and a hut on the right bank.Church's once-stellar reception by the 1870s had diminished, though he was still prominent; his work was often criticized for an excess of detail and a sense of melodrama. In 1880 art critic William Crary Brownell called it "a magnificent drop-curtain. A drop-curtain may be the work of incontestable genius; it may have a  thousand merits; ... it is simply not painting." In the 1960s, Church scholar David C. Huntington offered interpretive reminders of the symbolism of Church's art for its 19th-century American audience, who were Christians optimistic about the future of their young country (though the Civil War, a decade past, tempered these feelings):Morning in the Tropics is the mystical re-creation and resurrection of earth and man. A fallen Adam and a suffering world are forgotten. This is the second dawn of human consciousness and the second coming of the cosmic savior: an Easter-Genesis on the Amazon. You, remade, redeemed, twice-born spectator, are the first new man to fix his eyes on that beautiful untouched and unnamed planet. You, self-made New World man, are to be its namer. You, American, are the New Adam. Morning in the Tropics was Church's last and perhaps his greatest psychic landscape.As in The Andes of Ecuador, the sunlight forms a subtle cross. Huntington finds in the painting the influence of Gustave Doré's prints for Paradise Lost, of engravings after J. M. W. Turner such as Bacchus and Ariadne, and illustrated books on the tropics, such as those by Paul Marcoy.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Preservation Society of Newport County, Rhode Island

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: Explain the Analysis of this artwork, El Rio de Luz.

The work differs in important ways from Church's earlier, monumental South American canvases. While a high degree of realism and attention to detail remains, the landscape in The River of Light is more local; it no longer attempts to capture numerous topographies or climate zones in one image. As a result, the composition is more intimate than other South American works. The National Gallery of Art notes that "the tightly focused realism, the overall tonal harmony and restrained coloration, and the compositional unity all lend a remarkable cohesiveness to the work". The vantage point is no longer high and detached, but seemingly low enough that a viewer might stand there. Details include a canoeist, a flock of birds over the river and two others (possibly the amethyst woodstar hummingbird) perched close to the viewer, and a hut on the right bank.Church's once-stellar reception by the 1870s had diminished, though he was still prominent; his work was often criticized for an excess of detail and a sense of melodrama. In 1880 art critic William Crary Brownell called it "a magnificent drop-curtain. A drop-curtain may be the work of incontestable genius; it may have a  thousand merits; ... it is simply not painting." In the 1960s, Church scholar David C. Huntington offered interpretive reminders of the symbolism of Church's art for its 19th-century American audience, who were Christians optimistic about the future of their young country (though the Civil War, a decade past, tempered these feelings):Morning in the Tropics is the mystical re-creation and resurrection of earth and man. A fallen Adam and a suffering world are forgotten. This is the second dawn of human consciousness and the second coming of the cosmic savior: an Easter-Genesis on the Amazon. You, remade, redeemed, twice-born spectator, are the first new man to fix his eyes on that beautiful untouched and unnamed planet. You, self-made New World man, are to be its namer. You, American, are the New Adam. Morning in the Tropics was Church's last and perhaps his greatest psychic landscape.As in The Andes of Ecuador, the sunlight forms a subtle cross. Huntington finds in the painting the influence of Gustave Doré's prints for Paradise Lost, of engravings after J. M. W. Turner such as Bacchus and Ariadne, and illustrated books on the tropics, such as those by Paul Marcoy.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Preservation Society of Newport County, Rhode Island

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: How does El Rio de Luz explain its Analysis?

The work differs in important ways from Church's earlier, monumental South American canvases. While a high degree of realism and attention to detail remains, the landscape in The River of Light is more local; it no longer attempts to capture numerous topographies or climate zones in one image. As a result, the composition is more intimate than other South American works. The National Gallery of Art notes that "the tightly focused realism, the overall tonal harmony and restrained coloration, and the compositional unity all lend a remarkable cohesiveness to the work". The vantage point is no longer high and detached, but seemingly low enough that a viewer might stand there. Details include a canoeist, a flock of birds over the river and two others (possibly the amethyst woodstar hummingbird) perched close to the viewer, and a hut on the right bank.Church's once-stellar reception by the 1870s had diminished, though he was still prominent; his work was often criticized for an excess of detail and a sense of melodrama. In 1880 art critic William Crary Brownell called it "a magnificent drop-curtain. A drop-curtain may be the work of incontestable genius; it may have a  thousand merits; ... it is simply not painting." In the 1960s, Church scholar David C. Huntington offered interpretive reminders of the symbolism of Church's art for its 19th-century American audience, who were Christians optimistic about the future of their young country (though the Civil War, a decade past, tempered these feelings):Morning in the Tropics is the mystical re-creation and resurrection of earth and man. A fallen Adam and a suffering world are forgotten. This is the second dawn of human consciousness and the second coming of the cosmic savior: an Easter-Genesis on the Amazon. You, remade, redeemed, twice-born spectator, are the first new man to fix his eyes on that beautiful untouched and unnamed planet. You, self-made New World man, are to be its namer. You, American, are the New Adam. Morning in the Tropics was Church's last and perhaps his greatest psychic landscape.As in The Andes of Ecuador, the sunlight forms a subtle cross. Huntington finds in the painting the influence of Gustave Doré's prints for Paradise Lost, of engravings after J. M. W. Turner such as Bacchus and Ariadne, and illustrated books on the tropics, such as those by Paul Marcoy.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Preservation Society of Newport County, Rhode Island

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: In El Rio de Luz, how is the Analysis discussed?

The work differs in important ways from Church's earlier, monumental South American canvases. While a high degree of realism and attention to detail remains, the landscape in The River of Light is more local; it no longer attempts to capture numerous topographies or climate zones in one image. As a result, the composition is more intimate than other South American works. The National Gallery of Art notes that "the tightly focused realism, the overall tonal harmony and restrained coloration, and the compositional unity all lend a remarkable cohesiveness to the work". The vantage point is no longer high and detached, but seemingly low enough that a viewer might stand there. Details include a canoeist, a flock of birds over the river and two others (possibly the amethyst woodstar hummingbird) perched close to the viewer, and a hut on the right bank.Church's once-stellar reception by the 1870s had diminished, though he was still prominent; his work was often criticized for an excess of detail and a sense of melodrama. In 1880 art critic William Crary Brownell called it "a magnificent drop-curtain. A drop-curtain may be the work of incontestable genius; it may have a  thousand merits; ... it is simply not painting." In the 1960s, Church scholar David C. Huntington offered interpretive reminders of the symbolism of Church's art for its 19th-century American audience, who were Christians optimistic about the future of their young country (though the Civil War, a decade past, tempered these feelings):Morning in the Tropics is the mystical re-creation and resurrection of earth and man. A fallen Adam and a suffering world are forgotten. This is the second dawn of human consciousness and the second coming of the cosmic savior: an Easter-Genesis on the Amazon. You, remade, redeemed, twice-born spectator, are the first new man to fix his eyes on that beautiful untouched and unnamed planet. You, self-made New World man, are to be its namer. You, American, are the New Adam. Morning in the Tropics was Church's last and perhaps his greatest psychic landscape.As in The Andes of Ecuador, the sunlight forms a subtle cross. Huntington finds in the painting the influence of Gustave Doré's prints for Paradise Lost, of engravings after J. M. W. Turner such as Bacchus and Ariadne, and illustrated books on the tropics, such as those by Paul Marcoy.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Preservation Society of Newport County, Rhode Island

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: Focus on El Rio de Luz and explain the Exhibition and provenance.

The painting was exhibited in New York in 1877 at the Century Association (called A Tropical Morning), and in 1878 at Exposition Universelle.William Earl Dodge, Jr. (1832–1903) was the first owner of the work and passed it to his descendants, who reported that the painting had once been called The Amazon. In 1965, it was given to the Preservation Society of Newport County, Rhode Island, and purchased in December 1965 by the National Gallery of Art. The painting was restored in 1988.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: Explain the Exhibition and provenance of this artwork, El Rio de Luz.

The painting was exhibited in New York in 1877 at the Century Association (called A Tropical Morning), and in 1878 at Exposition Universelle.William Earl Dodge, Jr. (1832–1903) was the first owner of the work and passed it to his descendants, who reported that the painting had once been called The Amazon. In 1965, it was given to the Preservation Society of Newport County, Rhode Island, and purchased in December 1965 by the National Gallery of Art. The painting was restored in 1988.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: How does El Rio de Luz explain its Exhibition and provenance?

The painting was exhibited in New York in 1877 at the Century Association (called A Tropical Morning), and in 1878 at Exposition Universelle.William Earl Dodge, Jr. (1832–1903) was the first owner of the work and passed it to his descendants, who reported that the painting had once been called The Amazon. In 1965, it was given to the Preservation Society of Newport County, Rhode Island, and purchased in December 1965 by the National Gallery of Art. The painting was restored in 1988.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


El Rio de Luz

Prompt: In El Rio de Luz, how is the Exhibition and provenance discussed?

The painting was exhibited in New York in 1877 at the Century Association (called A Tropical Morning), and in 1878 at Exposition Universelle.William Earl Dodge, Jr. (1832–1903) was the first owner of the work and passed it to his descendants, who reported that the painting had once been called The Amazon. In 1965, it was given to the Preservation Society of Newport County, Rhode Island, and purchased in December 1965 by the National Gallery of Art. The painting was restored in 1988.

List of paintings by Frederic Edwin Church

:commons:Category:Illustrations of Paradise Lost by Gustave Doré

Category:Paintings in the National Gallery of Art

Category:Paintings by Frederic Edwin Church


La Ghirlandata

Prompt: Focus on La Ghirlandata and explain the abstract.

La Ghirlandata ("The Garlanded Woman") is an 1873 painting by English painter and poet Dante Gabriel Rossetti. It is currently in the collection of the Guildhall Art Gallery in London, United Kingdom. The model who sat for the painting was Alexa Wilding. May Morris was the model for both angel heads in the top corners of the painting.A conservation programme funded by the Bank of America Art Conservation Project has proposed on 2019. Before the project started, UCL updated the previous imaging studies by Art Analysis & Research by using a newly installed hyperspectral imaging system designed and manufactured by ClydeHSI.

List of paintings by Dante Gabriel Rossetti

Category:Collection of the Guildhall Art Gallery

Category:Paintings by Dante Gabriel Rossetti


La Ghirlandata

Prompt: Explain the abstract of this artwork, La Ghirlandata.

La Ghirlandata ("The Garlanded Woman") is an 1873 painting by English painter and poet Dante Gabriel Rossetti. It is currently in the collection of the Guildhall Art Gallery in London, United Kingdom. The model who sat for the painting was Alexa Wilding. May Morris was the model for both angel heads in the top corners of the painting.A conservation programme funded by the Bank of America Art Conservation Project has proposed on 2019. Before the project started, UCL updated the previous imaging studies by Art Analysis & Research by using a newly installed hyperspectral imaging system designed and manufactured by ClydeHSI.

List of paintings by Dante Gabriel Rossetti

Category:Collection of the Guildhall Art Gallery

Category:Paintings by Dante Gabriel Rossetti


La Ghirlandata

Prompt: How does La Ghirlandata explain its abstract?

La Ghirlandata ("The Garlanded Woman") is an 1873 painting by English painter and poet Dante Gabriel Rossetti. It is currently in the collection of the Guildhall Art Gallery in London, United Kingdom. The model who sat for the painting was Alexa Wilding. May Morris was the model for both angel heads in the top corners of the painting.A conservation programme funded by the Bank of America Art Conservation Project has proposed on 2019. Before the project started, UCL updated the previous imaging studies by Art Analysis & Research by using a newly installed hyperspectral imaging system designed and manufactured by ClydeHSI.

List of paintings by Dante Gabriel Rossetti

Category:Collection of the Guildhall Art Gallery

Category:Paintings by Dante Gabriel Rossetti


La Ghirlandata

Prompt: In La Ghirlandata, how is the abstract discussed?

La Ghirlandata ("The Garlanded Woman") is an 1873 painting by English painter and poet Dante Gabriel Rossetti. It is currently in the collection of the Guildhall Art Gallery in London, United Kingdom. The model who sat for the painting was Alexa Wilding. May Morris was the model for both angel heads in the top corners of the painting.A conservation programme funded by the Bank of America Art Conservation Project has proposed on 2019. Before the project started, UCL updated the previous imaging studies by Art Analysis & Research by using a newly installed hyperspectral imaging system designed and manufactured by ClydeHSI.

List of paintings by Dante Gabriel Rossetti

Category:Collection of the Guildhall Art Gallery

Category:Paintings by Dante Gabriel Rossetti


Madonna della Scodella

Prompt: Focus on Madonna della Scodella and explain the abstract.

Madonna della Scodella is an oil painting on panel by Antonio da Correggio (216,7 x 137,3 cm), dated from 1528 to about 1530 and preserved at the Galleria nazionale di Parma.

Category:Paintings of the Madonna and Child by Correggio


Madonna della Scodella

Prompt: Explain the abstract of this artwork, Madonna della Scodella.

Madonna della Scodella is an oil painting on panel by Antonio da Correggio (216,7 x 137,3 cm), dated from 1528 to about 1530 and preserved at the Galleria nazionale di Parma.

Category:Paintings of the Madonna and Child by Correggio


Madonna della Scodella

Prompt: How does Madonna della Scodella explain its abstract?

Madonna della Scodella is an oil painting on panel by Antonio da Correggio (216,7 x 137,3 cm), dated from 1528 to about 1530 and preserved at the Galleria nazionale di Parma.

Category:Paintings of the Madonna and Child by Correggio


Madonna della Scodella

Prompt: In Madonna della Scodella, how is the abstract discussed?

Madonna della Scodella is an oil painting on panel by Antonio da Correggio (216,7 x 137,3 cm), dated from 1528 to about 1530 and preserved at the Galleria nazionale di Parma.

Category:Paintings of the Madonna and Child by Correggio


Madonna della Scodella

Prompt: Focus on Madonna della Scodella and explain the History.

The panel painting was made by Correggio for the San Sepolcro, Parma. It was probably commissioned in 1524, when Cristoforo Bondini, dying, left in his will 15 lire for the creation of a painting for the altar of Saint Joseph.: vol.2, p.198  There are two known preparatory drawings for the painting. The result was completed in 1530, as is revealed in the inscription on the original frame:DIVO IOSEPPO DEIPARAE VIRGINIS CUSTODI / FIDISS COELITUSQ DESTINATO HVIVSCE / ARAE COMUNI AERE ERECTORES DEVOTI / ALACRESQ EREXERE / DIE II IVNIIGiorgio Vasari cited the work as "panel of divine painting" in the second edition of his Lives while speaking of Girolamo da Carpi, who he believed had studied in San Sepolcro. The painting remained there until 1796, when it was requisitioned by the Napoleonic government and taken to Paris. It was repatriated in 1815, after the defeat of Napoleon at Waterloo, and was placed in the following year in the Ducal Gallery. In 1893, at the proposal of art critic Corrado Ricci, it was reinserted into its original frame.For dating the painting, the commonly agreed range is 1528–1530. Art historian Cecil Gould believed that the angels at the highest part of the canvas were made in those years and that the lower part of the work was made, however, around 1535.Madonna della Scodella has had a wide influence: it was studied by, among others, Lelio Orsi, Federico Barocci, Lanfranco Frigeri, Domenichino, as well as Carlo Maratta and Pompeo Batoni. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

Category:Paintings of the Madonna and Child by Correggio


Madonna della Scodella

Prompt: Explain the History of this artwork, Madonna della Scodella.

The panel painting was made by Correggio for the San Sepolcro, Parma. It was probably commissioned in 1524, when Cristoforo Bondini, dying, left in his will 15 lire for the creation of a painting for the altar of Saint Joseph.: vol.2, p.198  There are two known preparatory drawings for the painting. The result was completed in 1530, as is revealed in the inscription on the original frame:DIVO IOSEPPO DEIPARAE VIRGINIS CUSTODI / FIDISS COELITUSQ DESTINATO HVIVSCE / ARAE COMUNI AERE ERECTORES DEVOTI / ALACRESQ EREXERE / DIE II IVNIIGiorgio Vasari cited the work as "panel of divine painting" in the second edition of his Lives while speaking of Girolamo da Carpi, who he believed had studied in San Sepolcro. The painting remained there until 1796, when it was requisitioned by the Napoleonic government and taken to Paris. It was repatriated in 1815, after the defeat of Napoleon at Waterloo, and was placed in the following year in the Ducal Gallery. In 1893, at the proposal of art critic Corrado Ricci, it was reinserted into its original frame.For dating the painting, the commonly agreed range is 1528–1530. Art historian Cecil Gould believed that the angels at the highest part of the canvas were made in those years and that the lower part of the work was made, however, around 1535.Madonna della Scodella has had a wide influence: it was studied by, among others, Lelio Orsi, Federico Barocci, Lanfranco Frigeri, Domenichino, as well as Carlo Maratta and Pompeo Batoni. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

Category:Paintings of the Madonna and Child by Correggio


Madonna della Scodella

Prompt: How does Madonna della Scodella explain its History?

The panel painting was made by Correggio for the San Sepolcro, Parma. It was probably commissioned in 1524, when Cristoforo Bondini, dying, left in his will 15 lire for the creation of a painting for the altar of Saint Joseph.: vol.2, p.198  There are two known preparatory drawings for the painting. The result was completed in 1530, as is revealed in the inscription on the original frame:DIVO IOSEPPO DEIPARAE VIRGINIS CUSTODI / FIDISS COELITUSQ DESTINATO HVIVSCE / ARAE COMUNI AERE ERECTORES DEVOTI / ALACRESQ EREXERE / DIE II IVNIIGiorgio Vasari cited the work as "panel of divine painting" in the second edition of his Lives while speaking of Girolamo da Carpi, who he believed had studied in San Sepolcro. The painting remained there until 1796, when it was requisitioned by the Napoleonic government and taken to Paris. It was repatriated in 1815, after the defeat of Napoleon at Waterloo, and was placed in the following year in the Ducal Gallery. In 1893, at the proposal of art critic Corrado Ricci, it was reinserted into its original frame.For dating the painting, the commonly agreed range is 1528–1530. Art historian Cecil Gould believed that the angels at the highest part of the canvas were made in those years and that the lower part of the work was made, however, around 1535.Madonna della Scodella has had a wide influence: it was studied by, among others, Lelio Orsi, Federico Barocci, Lanfranco Frigeri, Domenichino, as well as Carlo Maratta and Pompeo Batoni. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

Category:Paintings of the Madonna and Child by Correggio


Madonna della Scodella

Prompt: In Madonna della Scodella, how is the History discussed?

The panel painting was made by Correggio for the San Sepolcro, Parma. It was probably commissioned in 1524, when Cristoforo Bondini, dying, left in his will 15 lire for the creation of a painting for the altar of Saint Joseph.: vol.2, p.198  There are two known preparatory drawings for the painting. The result was completed in 1530, as is revealed in the inscription on the original frame:DIVO IOSEPPO DEIPARAE VIRGINIS CUSTODI / FIDISS COELITUSQ DESTINATO HVIVSCE / ARAE COMUNI AERE ERECTORES DEVOTI / ALACRESQ EREXERE / DIE II IVNIIGiorgio Vasari cited the work as "panel of divine painting" in the second edition of his Lives while speaking of Girolamo da Carpi, who he believed had studied in San Sepolcro. The painting remained there until 1796, when it was requisitioned by the Napoleonic government and taken to Paris. It was repatriated in 1815, after the defeat of Napoleon at Waterloo, and was placed in the following year in the Ducal Gallery. In 1893, at the proposal of art critic Corrado Ricci, it was reinserted into its original frame.For dating the painting, the commonly agreed range is 1528–1530. Art historian Cecil Gould believed that the angels at the highest part of the canvas were made in those years and that the lower part of the work was made, however, around 1535.Madonna della Scodella has had a wide influence: it was studied by, among others, Lelio Orsi, Federico Barocci, Lanfranco Frigeri, Domenichino, as well as Carlo Maratta and Pompeo Batoni. A 1724 copy of the painting hangs in the chapel of Palais Rohan, Strasbourg.

Category:Paintings of the Madonna and Child by Correggio


Madonna della Scodella

Prompt: Focus on Madonna della Scodella and explain the Description and style.

The painting depicts an episode in the infancy of Jesus narrated in the apocryphal Gospel of Pseudo-Matthew: while returning to Palestine after the Flight into Egypt and during a break in the shade of a date palm, the Sacred Family were fed, thanks to the tree, which, folding extraordinarily, offered its fruits to the travelers. The Virgin is represented in the act of collecting the fruits, with a bowl of water miraculously appearing to quench Jesus' thirst. From this, the traditional name of the work is derived. The title with which it is known also signified the importance that Correggio wished to place, as with his Madonna of the Basket, on the simple object of the bowl.This iconography was not often used in Italian artistic production. It was, however, more frequent in the North, as displayed by the works of Albrecht Altdorfer and Lucas Cranach.The protagonist role of Joseph was a response to the needs of the Fraternity that commissioned the painting. The image is constructed on a diagonal line, that opens on the left with the bowl of silver and follows the intertwining of hands by the Virgin, Baby Jesus, and Joseph. The pose of Jesus, in a calculated contrapposto, allows him to act as a link between the represented scene and the real world of the observer, to whom he turns a knowing gaze.On high, a glory of angels frees itself in an animated spiral that recalls the Correggio's frescoes of his Assumption of the Virgin in the Parma duomo.

Category:Paintings of the Madonna and Child by Correggio