Mistos

Prompt: In Mistos, how is the abstract discussed?

Mistos (Match Cover or Matches) is the name given to a group of sculptures by artists Claes Oldenburg and Coosje van Bruggen located in the La Vall d’Hebron neighborhood of Barcelona, Catalonia in Spain. The statue was unveiled in 1992 in anticipation for the 1992 Olympic Games in Barcelona and depicts several matches bending out of a matchbook, with several of the “burned” matches strewn about the nearby intersection. Like most of Oldenburg and van Bruggens’ works, the statues are made of painted steel and concrete.

Category:Tourist attractions in Barcelona

Oldenburg and van Bruggen's signature at the base of the statue

Category:Buildings and structures completed in 1992

Category:Outdoor sculptures in Barcelona

Category:Sculptures by Coosje van Bruggen

Lipstick (Ascending) on Caterpillar Tracks


Mistos

Prompt: Focus on Mistos and explain the Background.

By the late 1908s, Swedish-American artist Claes Oldenburg and his wife, Coosje van Bruggen, had made a name for themselves creating large replicas of household objects for public art installations across the globe. Pieces like Lipstick (Ascending) on Caterpillar Tracks (1974) and Spoonbridge and Cherry (1988) helped them gain notoriety, and they were commissioned by Barcelona's Olympic Council to create a piece for the city, as the Summer Olympic Games were to be held there in 1992. Oldenburg and van Bruggen had were invited to Barcelona in 1986 by the council, and the piece was subsequently commissioned.In contrast to many of the other contracted artists who created work to be placed beside the coast, Oldenburg and van Bruggen remarked that they were “more interested in the residential areas being developed for the Olympic Games that would afterward become new neighborhoods”. Accordingly, the piece was designed to be placed in the newly developed La Vall d’Hebron neighborhood, wherein the many competitions were held for the games. The piece is located in front of the tennis area.

Category:Tourist attractions in Barcelona

Oldenburg and van Bruggen's signature at the base of the statue

Category:Buildings and structures completed in 1992

Category:Outdoor sculptures in Barcelona

Category:Sculptures by Coosje van Bruggen


Mistos

Prompt: Explain the Background of this artwork, Mistos.

By the late 1908s, Swedish-American artist Claes Oldenburg and his wife, Coosje van Bruggen, had made a name for themselves creating large replicas of household objects for public art installations across the globe. Pieces like Lipstick (Ascending) on Caterpillar Tracks (1974) and Spoonbridge and Cherry (1988) helped them gain notoriety, and they were commissioned by Barcelona's Olympic Council to create a piece for the city, as the Summer Olympic Games were to be held there in 1992. Oldenburg and van Bruggen had were invited to Barcelona in 1986 by the council, and the piece was subsequently commissioned.In contrast to many of the other contracted artists who created work to be placed beside the coast, Oldenburg and van Bruggen remarked that they were “more interested in the residential areas being developed for the Olympic Games that would afterward become new neighborhoods”. Accordingly, the piece was designed to be placed in the newly developed La Vall d’Hebron neighborhood, wherein the many competitions were held for the games. The piece is located in front of the tennis area.

Category:Tourist attractions in Barcelona

Oldenburg and van Bruggen's signature at the base of the statue

Category:Buildings and structures completed in 1992

Category:Outdoor sculptures in Barcelona

Category:Sculptures by Coosje van Bruggen


Mistos

Prompt: How does Mistos explain its Background?

By the late 1908s, Swedish-American artist Claes Oldenburg and his wife, Coosje van Bruggen, had made a name for themselves creating large replicas of household objects for public art installations across the globe. Pieces like Lipstick (Ascending) on Caterpillar Tracks (1974) and Spoonbridge and Cherry (1988) helped them gain notoriety, and they were commissioned by Barcelona's Olympic Council to create a piece for the city, as the Summer Olympic Games were to be held there in 1992. Oldenburg and van Bruggen had were invited to Barcelona in 1986 by the council, and the piece was subsequently commissioned.In contrast to many of the other contracted artists who created work to be placed beside the coast, Oldenburg and van Bruggen remarked that they were “more interested in the residential areas being developed for the Olympic Games that would afterward become new neighborhoods”. Accordingly, the piece was designed to be placed in the newly developed La Vall d’Hebron neighborhood, wherein the many competitions were held for the games. The piece is located in front of the tennis area.

Category:Tourist attractions in Barcelona

Oldenburg and van Bruggen's signature at the base of the statue

Category:Buildings and structures completed in 1992

Category:Outdoor sculptures in Barcelona

Category:Sculptures by Coosje van Bruggen


Mistos

Prompt: In Mistos, how is the Background discussed?

By the late 1908s, Swedish-American artist Claes Oldenburg and his wife, Coosje van Bruggen, had made a name for themselves creating large replicas of household objects for public art installations across the globe. Pieces like Lipstick (Ascending) on Caterpillar Tracks (1974) and Spoonbridge and Cherry (1988) helped them gain notoriety, and they were commissioned by Barcelona's Olympic Council to create a piece for the city, as the Summer Olympic Games were to be held there in 1992. Oldenburg and van Bruggen had were invited to Barcelona in 1986 by the council, and the piece was subsequently commissioned.In contrast to many of the other contracted artists who created work to be placed beside the coast, Oldenburg and van Bruggen remarked that they were “more interested in the residential areas being developed for the Olympic Games that would afterward become new neighborhoods”. Accordingly, the piece was designed to be placed in the newly developed La Vall d’Hebron neighborhood, wherein the many competitions were held for the games. The piece is located in front of the tennis area.

Category:Tourist attractions in Barcelona

Oldenburg and van Bruggen's signature at the base of the statue

Category:Buildings and structures completed in 1992

Category:Outdoor sculptures in Barcelona

Category:Sculptures by Coosje van Bruggen


Mistos

Prompt: Focus on Mistos and explain the Description.

Mistos is a series of 6 statues of oversized matches. The centerpiece, located at the intersection of Avinguda Cardenal Vidal i Barraquer and Carrer Pare Mariana, in front of the Pavilion of the Spanish Republic, shows five matches being bent out of a matchbox. The tallest match is set ablaze with an angular blue flame. There are five other statues surrounding the centerpiece, each showing a match in a different state. To the direct west of the centerpiece is a crumpled, burned match, whereas the match to the direct north of the centerpiece is not stricken and bent in a Z-shape design. Two statues stand across Avinguda Cardenal Vidal i Barraquer, directly east of the centerpiece, showing another burnt match and another that has not been struck. The match statue directly south of the centerpiece, across Carrer Pare Mariana, is bent in a W-shape design.All of the matches are made of steel and generally stand around 7 feet tall. The sticks are painted bright yellow, whereas the match heads are red. Two of the matches rendered “burnt” are colored black instead of red. The matchbox proper is painted grey and black. Atop the tallest match in the centerpiece is a blue flame. Like many of the duo's sculptures, Mistos uses flat, bold colors.The matchbox base of the centerpiece is aligned with the sidewalk in such a way that it can easily be climbed. Many local children slide down this triangularly-shaped section.

Category:Tourist attractions in Barcelona

Oldenburg and van Bruggen's signature at the base of the statue

Category:Buildings and structures completed in 1992

Category:Outdoor sculptures in Barcelona

Category:Sculptures by Coosje van Bruggen

Lipstick (Ascending) on Caterpillar Tracks


Mistos

Prompt: Explain the Description of this artwork, Mistos.

Mistos is a series of 6 statues of oversized matches. The centerpiece, located at the intersection of Avinguda Cardenal Vidal i Barraquer and Carrer Pare Mariana, in front of the Pavilion of the Spanish Republic, shows five matches being bent out of a matchbox. The tallest match is set ablaze with an angular blue flame. There are five other statues surrounding the centerpiece, each showing a match in a different state. To the direct west of the centerpiece is a crumpled, burned match, whereas the match to the direct north of the centerpiece is not stricken and bent in a Z-shape design. Two statues stand across Avinguda Cardenal Vidal i Barraquer, directly east of the centerpiece, showing another burnt match and another that has not been struck. The match statue directly south of the centerpiece, across Carrer Pare Mariana, is bent in a W-shape design.All of the matches are made of steel and generally stand around 7 feet tall. The sticks are painted bright yellow, whereas the match heads are red. Two of the matches rendered “burnt” are colored black instead of red. The matchbox proper is painted grey and black. Atop the tallest match in the centerpiece is a blue flame. Like many of the duo's sculptures, Mistos uses flat, bold colors.The matchbox base of the centerpiece is aligned with the sidewalk in such a way that it can easily be climbed. Many local children slide down this triangularly-shaped section.

Category:Tourist attractions in Barcelona

Oldenburg and van Bruggen's signature at the base of the statue

Category:Buildings and structures completed in 1992

Category:Outdoor sculptures in Barcelona

Category:Sculptures by Coosje van Bruggen

Lipstick (Ascending) on Caterpillar Tracks


Mistos

Prompt: How does Mistos explain its Description?

Mistos is a series of 6 statues of oversized matches. The centerpiece, located at the intersection of Avinguda Cardenal Vidal i Barraquer and Carrer Pare Mariana, in front of the Pavilion of the Spanish Republic, shows five matches being bent out of a matchbox. The tallest match is set ablaze with an angular blue flame. There are five other statues surrounding the centerpiece, each showing a match in a different state. To the direct west of the centerpiece is a crumpled, burned match, whereas the match to the direct north of the centerpiece is not stricken and bent in a Z-shape design. Two statues stand across Avinguda Cardenal Vidal i Barraquer, directly east of the centerpiece, showing another burnt match and another that has not been struck. The match statue directly south of the centerpiece, across Carrer Pare Mariana, is bent in a W-shape design.All of the matches are made of steel and generally stand around 7 feet tall. The sticks are painted bright yellow, whereas the match heads are red. Two of the matches rendered “burnt” are colored black instead of red. The matchbox proper is painted grey and black. Atop the tallest match in the centerpiece is a blue flame. Like many of the duo's sculptures, Mistos uses flat, bold colors.The matchbox base of the centerpiece is aligned with the sidewalk in such a way that it can easily be climbed. Many local children slide down this triangularly-shaped section.

Category:Tourist attractions in Barcelona

Oldenburg and van Bruggen's signature at the base of the statue

Category:Buildings and structures completed in 1992

Category:Outdoor sculptures in Barcelona

Category:Sculptures by Coosje van Bruggen

Lipstick (Ascending) on Caterpillar Tracks


Mistos

Prompt: In Mistos, how is the Description discussed?

Mistos is a series of 6 statues of oversized matches. The centerpiece, located at the intersection of Avinguda Cardenal Vidal i Barraquer and Carrer Pare Mariana, in front of the Pavilion of the Spanish Republic, shows five matches being bent out of a matchbox. The tallest match is set ablaze with an angular blue flame. There are five other statues surrounding the centerpiece, each showing a match in a different state. To the direct west of the centerpiece is a crumpled, burned match, whereas the match to the direct north of the centerpiece is not stricken and bent in a Z-shape design. Two statues stand across Avinguda Cardenal Vidal i Barraquer, directly east of the centerpiece, showing another burnt match and another that has not been struck. The match statue directly south of the centerpiece, across Carrer Pare Mariana, is bent in a W-shape design.All of the matches are made of steel and generally stand around 7 feet tall. The sticks are painted bright yellow, whereas the match heads are red. Two of the matches rendered “burnt” are colored black instead of red. The matchbox proper is painted grey and black. Atop the tallest match in the centerpiece is a blue flame. Like many of the duo's sculptures, Mistos uses flat, bold colors.The matchbox base of the centerpiece is aligned with the sidewalk in such a way that it can easily be climbed. Many local children slide down this triangularly-shaped section.

Category:Tourist attractions in Barcelona

Oldenburg and van Bruggen's signature at the base of the statue

Category:Buildings and structures completed in 1992

Category:Outdoor sculptures in Barcelona

Category:Sculptures by Coosje van Bruggen

Lipstick (Ascending) on Caterpillar Tracks


Statue of Elizabeth Cady Stanton

Prompt: Focus on Statue of Elizabeth Cady Stanton and explain the abstract.

A bronze sculpture of Elizabeth Cady Stanton was installed in Johnstown's Sir William Johnson Park, in the U.S. state of New York, in 2021.

Category:Bronze sculptures in New York (state)

Category:Sculptures of women in New York (state)

List of monuments and memorials to women's suffrage

Category:2021 establishments in New York (state)

Category:Monuments and memorials in New York (state)

Category:Outdoor sculptures in New York (state)


Statue of Elizabeth Cady Stanton

Prompt: Explain the abstract of this artwork, Statue of Elizabeth Cady Stanton.

A bronze sculpture of Elizabeth Cady Stanton was installed in Johnstown's Sir William Johnson Park, in the U.S. state of New York, in 2021.

Category:Bronze sculptures in New York (state)

Category:Sculptures of women in New York (state)

List of monuments and memorials to women's suffrage

Category:2021 establishments in New York (state)

Category:Monuments and memorials in New York (state)

Category:Outdoor sculptures in New York (state)


Statue of Elizabeth Cady Stanton

Prompt: How does Statue of Elizabeth Cady Stanton explain its abstract?

A bronze sculpture of Elizabeth Cady Stanton was installed in Johnstown's Sir William Johnson Park, in the U.S. state of New York, in 2021.

Category:Bronze sculptures in New York (state)

Category:Sculptures of women in New York (state)

List of monuments and memorials to women's suffrage

Category:2021 establishments in New York (state)

Category:Monuments and memorials in New York (state)

Category:Outdoor sculptures in New York (state)


Statue of Elizabeth Cady Stanton

Prompt: In Statue of Elizabeth Cady Stanton, how is the abstract discussed?

A bronze sculpture of Elizabeth Cady Stanton was installed in Johnstown's Sir William Johnson Park, in the U.S. state of New York, in 2021.

Category:Bronze sculptures in New York (state)

Category:Sculptures of women in New York (state)

List of monuments and memorials to women's suffrage

Category:2021 establishments in New York (state)

Category:Monuments and memorials in New York (state)

Category:Outdoor sculptures in New York (state)


View of Bentheim Castle

Prompt: Focus on View of Bentheim Castle and explain the abstract.

View of Bentheim Castle (c. 1650s) is an oil on canvas painting of Burg Bentheim by the Dutch landscape painter Jacob van Ruisdael.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1911, who wrote; "21. THE CASTLE OF BENTHEIM. Sm. 16. The castle stands in the left middle distance on the rocky summit of a hill. To the right is a valley through which runs a road. In front are masses of rock between which flows a stream forming a little waterfall. On the left bank a shattered tree-trunk, beside the stump, lies diagonally across the stream. Farther back the stream widens; on the left bank a shepherd drives his sheep forward. A fine picture, full of light. [Pendant to 319.]Signed in full to the right on a rock; canvas, 27 inches by 21 inches. Engraved by W. Unger. Sales. G. G. Baron Taets van Amerongen, Amsterdam, July 3, 1805, No. 35 (750 florins, Josi). p. de Smeth van Alphen, Amsterdam, August i, 1810, No. 86 (740 florins, Coclers); pendant to No. 85. In the Rijksmuseum, Amsterdam, 1910 catalogue, No. 2080; it was there in 1835 (Sm., who valued it at £ 350)."This scene is very similar to other paintings Ruisdael made in this period of Burg Bentheim and these often showed the castle on a high hill, though in reality it is only slightly elevated above the surrounding plain.Little is known of Ruisdael's trip to Bentheim. It is speculated that he took a grand tour like many of his contemporaries did, but they were mostly interested in travel to Italy and headed southwards, not eastwards as Ruisdael had done. Sources are unclear about the reason the artist would travel to Bentheim to paint it. Bentheim is a small German town near the Dutch border about 26 kilometers beyond Ootmarsum, a town Ruisdael painted, and adjoins the town of Schüttorf, which Ruisdael sketched from across the river Vechte. In those days, people of Haarlem and Amsterdam were more likely to travel by foot or by trekschuit than by horse and buggy. Ruisdael's paintings also often show people walking along sandy tracks or traveling in boats, but only the cart tracks in his paintings show the traffic from other forms of transport. If he travelled eastwards by boat, then this could explain why he made so many sketches of water mills and sluices. There has been speculation that Ruisdael accompanied an expedition to acquire Bentheimer sandstone for building the new Amsterdam Town Hall, an ambitious project by mayor Nicolaes Tulp that employed many artists, including the Haarlem architect Jacob van Campen as master builder. Bentheimer sandstone was a popular product being used to build canal mansions along the new canals of Amsterdam. In Haarlem, the facade of the house of Pieter Teyler van der Hulst is cladded with Bentheimer sandstone, and though this was probably done later in the 1740s, it shows how the popularity of this material overshadowed the use of Namur stone from Belgium, the material used earlier in the 17th century for cladding of the Waag, Haarlem, which is a few doors down from Teyler's house. However it is also entirely plausible that Ruisdael was invited to the castle to paint it, but little is known of the art collection in the castle at that time.Ruisdael was even tempted to make a dramatic sweeping version of the castle that was copied almost in mirror image by Haarlem contemporary Nicolaes Berchem, called "his great friend" by Ruisdael biographer Arnold Houbraken. It is assumed that the artists travelled together, but no archival evidence beyond dated artworks survive which support this.

Ruisdael's view of the neighboring town of [[Schüttorf

Category:Paintings by Jacob van Ruisdael

File:Jakob van Ruisdal, Ansicht Schüttorf.jpg


View of Bentheim Castle

Prompt: Explain the abstract of this artwork, View of Bentheim Castle.

View of Bentheim Castle (c. 1650s) is an oil on canvas painting of Burg Bentheim by the Dutch landscape painter Jacob van Ruisdael.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1911, who wrote; "21. THE CASTLE OF BENTHEIM. Sm. 16. The castle stands in the left middle distance on the rocky summit of a hill. To the right is a valley through which runs a road. In front are masses of rock between which flows a stream forming a little waterfall. On the left bank a shattered tree-trunk, beside the stump, lies diagonally across the stream. Farther back the stream widens; on the left bank a shepherd drives his sheep forward. A fine picture, full of light. [Pendant to 319.]Signed in full to the right on a rock; canvas, 27 inches by 21 inches. Engraved by W. Unger. Sales. G. G. Baron Taets van Amerongen, Amsterdam, July 3, 1805, No. 35 (750 florins, Josi). p. de Smeth van Alphen, Amsterdam, August i, 1810, No. 86 (740 florins, Coclers); pendant to No. 85. In the Rijksmuseum, Amsterdam, 1910 catalogue, No. 2080; it was there in 1835 (Sm., who valued it at £ 350)."This scene is very similar to other paintings Ruisdael made in this period of Burg Bentheim and these often showed the castle on a high hill, though in reality it is only slightly elevated above the surrounding plain.Little is known of Ruisdael's trip to Bentheim. It is speculated that he took a grand tour like many of his contemporaries did, but they were mostly interested in travel to Italy and headed southwards, not eastwards as Ruisdael had done. Sources are unclear about the reason the artist would travel to Bentheim to paint it. Bentheim is a small German town near the Dutch border about 26 kilometers beyond Ootmarsum, a town Ruisdael painted, and adjoins the town of Schüttorf, which Ruisdael sketched from across the river Vechte. In those days, people of Haarlem and Amsterdam were more likely to travel by foot or by trekschuit than by horse and buggy. Ruisdael's paintings also often show people walking along sandy tracks or traveling in boats, but only the cart tracks in his paintings show the traffic from other forms of transport. If he travelled eastwards by boat, then this could explain why he made so many sketches of water mills and sluices. There has been speculation that Ruisdael accompanied an expedition to acquire Bentheimer sandstone for building the new Amsterdam Town Hall, an ambitious project by mayor Nicolaes Tulp that employed many artists, including the Haarlem architect Jacob van Campen as master builder. Bentheimer sandstone was a popular product being used to build canal mansions along the new canals of Amsterdam. In Haarlem, the facade of the house of Pieter Teyler van der Hulst is cladded with Bentheimer sandstone, and though this was probably done later in the 1740s, it shows how the popularity of this material overshadowed the use of Namur stone from Belgium, the material used earlier in the 17th century for cladding of the Waag, Haarlem, which is a few doors down from Teyler's house. However it is also entirely plausible that Ruisdael was invited to the castle to paint it, but little is known of the art collection in the castle at that time.Ruisdael was even tempted to make a dramatic sweeping version of the castle that was copied almost in mirror image by Haarlem contemporary Nicolaes Berchem, called "his great friend" by Ruisdael biographer Arnold Houbraken. It is assumed that the artists travelled together, but no archival evidence beyond dated artworks survive which support this.

Ruisdael's view of the neighboring town of [[Schüttorf

Category:Paintings by Jacob van Ruisdael

File:Jakob van Ruisdal, Ansicht Schüttorf.jpg


View of Bentheim Castle

Prompt: How does View of Bentheim Castle explain its abstract?

View of Bentheim Castle (c. 1650s) is an oil on canvas painting of Burg Bentheim by the Dutch landscape painter Jacob van Ruisdael.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1911, who wrote; "21. THE CASTLE OF BENTHEIM. Sm. 16. The castle stands in the left middle distance on the rocky summit of a hill. To the right is a valley through which runs a road. In front are masses of rock between which flows a stream forming a little waterfall. On the left bank a shattered tree-trunk, beside the stump, lies diagonally across the stream. Farther back the stream widens; on the left bank a shepherd drives his sheep forward. A fine picture, full of light. [Pendant to 319.]Signed in full to the right on a rock; canvas, 27 inches by 21 inches. Engraved by W. Unger. Sales. G. G. Baron Taets van Amerongen, Amsterdam, July 3, 1805, No. 35 (750 florins, Josi). p. de Smeth van Alphen, Amsterdam, August i, 1810, No. 86 (740 florins, Coclers); pendant to No. 85. In the Rijksmuseum, Amsterdam, 1910 catalogue, No. 2080; it was there in 1835 (Sm., who valued it at £ 350)."This scene is very similar to other paintings Ruisdael made in this period of Burg Bentheim and these often showed the castle on a high hill, though in reality it is only slightly elevated above the surrounding plain.Little is known of Ruisdael's trip to Bentheim. It is speculated that he took a grand tour like many of his contemporaries did, but they were mostly interested in travel to Italy and headed southwards, not eastwards as Ruisdael had done. Sources are unclear about the reason the artist would travel to Bentheim to paint it. Bentheim is a small German town near the Dutch border about 26 kilometers beyond Ootmarsum, a town Ruisdael painted, and adjoins the town of Schüttorf, which Ruisdael sketched from across the river Vechte. In those days, people of Haarlem and Amsterdam were more likely to travel by foot or by trekschuit than by horse and buggy. Ruisdael's paintings also often show people walking along sandy tracks or traveling in boats, but only the cart tracks in his paintings show the traffic from other forms of transport. If he travelled eastwards by boat, then this could explain why he made so many sketches of water mills and sluices. There has been speculation that Ruisdael accompanied an expedition to acquire Bentheimer sandstone for building the new Amsterdam Town Hall, an ambitious project by mayor Nicolaes Tulp that employed many artists, including the Haarlem architect Jacob van Campen as master builder. Bentheimer sandstone was a popular product being used to build canal mansions along the new canals of Amsterdam. In Haarlem, the facade of the house of Pieter Teyler van der Hulst is cladded with Bentheimer sandstone, and though this was probably done later in the 1740s, it shows how the popularity of this material overshadowed the use of Namur stone from Belgium, the material used earlier in the 17th century for cladding of the Waag, Haarlem, which is a few doors down from Teyler's house. However it is also entirely plausible that Ruisdael was invited to the castle to paint it, but little is known of the art collection in the castle at that time.Ruisdael was even tempted to make a dramatic sweeping version of the castle that was copied almost in mirror image by Haarlem contemporary Nicolaes Berchem, called "his great friend" by Ruisdael biographer Arnold Houbraken. It is assumed that the artists travelled together, but no archival evidence beyond dated artworks survive which support this.

Ruisdael's view of the neighboring town of [[Schüttorf

Category:Paintings by Jacob van Ruisdael

File:Jakob van Ruisdal, Ansicht Schüttorf.jpg


View of Bentheim Castle

Prompt: In View of Bentheim Castle, how is the abstract discussed?

View of Bentheim Castle (c. 1650s) is an oil on canvas painting of Burg Bentheim by the Dutch landscape painter Jacob van Ruisdael.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1911, who wrote; "21. THE CASTLE OF BENTHEIM. Sm. 16. The castle stands in the left middle distance on the rocky summit of a hill. To the right is a valley through which runs a road. In front are masses of rock between which flows a stream forming a little waterfall. On the left bank a shattered tree-trunk, beside the stump, lies diagonally across the stream. Farther back the stream widens; on the left bank a shepherd drives his sheep forward. A fine picture, full of light. [Pendant to 319.]Signed in full to the right on a rock; canvas, 27 inches by 21 inches. Engraved by W. Unger. Sales. G. G. Baron Taets van Amerongen, Amsterdam, July 3, 1805, No. 35 (750 florins, Josi). p. de Smeth van Alphen, Amsterdam, August i, 1810, No. 86 (740 florins, Coclers); pendant to No. 85. In the Rijksmuseum, Amsterdam, 1910 catalogue, No. 2080; it was there in 1835 (Sm., who valued it at £ 350)."This scene is very similar to other paintings Ruisdael made in this period of Burg Bentheim and these often showed the castle on a high hill, though in reality it is only slightly elevated above the surrounding plain.Little is known of Ruisdael's trip to Bentheim. It is speculated that he took a grand tour like many of his contemporaries did, but they were mostly interested in travel to Italy and headed southwards, not eastwards as Ruisdael had done. Sources are unclear about the reason the artist would travel to Bentheim to paint it. Bentheim is a small German town near the Dutch border about 26 kilometers beyond Ootmarsum, a town Ruisdael painted, and adjoins the town of Schüttorf, which Ruisdael sketched from across the river Vechte. In those days, people of Haarlem and Amsterdam were more likely to travel by foot or by trekschuit than by horse and buggy. Ruisdael's paintings also often show people walking along sandy tracks or traveling in boats, but only the cart tracks in his paintings show the traffic from other forms of transport. If he travelled eastwards by boat, then this could explain why he made so many sketches of water mills and sluices. There has been speculation that Ruisdael accompanied an expedition to acquire Bentheimer sandstone for building the new Amsterdam Town Hall, an ambitious project by mayor Nicolaes Tulp that employed many artists, including the Haarlem architect Jacob van Campen as master builder. Bentheimer sandstone was a popular product being used to build canal mansions along the new canals of Amsterdam. In Haarlem, the facade of the house of Pieter Teyler van der Hulst is cladded with Bentheimer sandstone, and though this was probably done later in the 1740s, it shows how the popularity of this material overshadowed the use of Namur stone from Belgium, the material used earlier in the 17th century for cladding of the Waag, Haarlem, which is a few doors down from Teyler's house. However it is also entirely plausible that Ruisdael was invited to the castle to paint it, but little is known of the art collection in the castle at that time.Ruisdael was even tempted to make a dramatic sweeping version of the castle that was copied almost in mirror image by Haarlem contemporary Nicolaes Berchem, called "his great friend" by Ruisdael biographer Arnold Houbraken. It is assumed that the artists travelled together, but no archival evidence beyond dated artworks survive which support this.

Ruisdael's view of the neighboring town of [[Schüttorf

Category:Paintings by Jacob van Ruisdael

File:Jakob van Ruisdal, Ansicht Schüttorf.jpg


Brushstrokes in Flight

Prompt: Focus on Brushstrokes in Flight and explain the abstract.

Brushstrokes in Flight is a 1984 sculpture by Roy Lichtenstein, installed at the John Glenn Columbus International Airport in Columbus, Ohio. It is part of the Brushstrokes series of artworks that includes several paintings and sculptures whose subject is the actions made with a house-painter's brush.


Brushstrokes in Flight

Prompt: Explain the abstract of this artwork, Brushstrokes in Flight.

Brushstrokes in Flight is a 1984 sculpture by Roy Lichtenstein, installed at the John Glenn Columbus International Airport in Columbus, Ohio. It is part of the Brushstrokes series of artworks that includes several paintings and sculptures whose subject is the actions made with a house-painter's brush.


Brushstrokes in Flight

Prompt: How does Brushstrokes in Flight explain its abstract?

Brushstrokes in Flight is a 1984 sculpture by Roy Lichtenstein, installed at the John Glenn Columbus International Airport in Columbus, Ohio. It is part of the Brushstrokes series of artworks that includes several paintings and sculptures whose subject is the actions made with a house-painter's brush.


Brushstrokes in Flight

Prompt: In Brushstrokes in Flight, how is the abstract discussed?

Brushstrokes in Flight is a 1984 sculpture by Roy Lichtenstein, installed at the John Glenn Columbus International Airport in Columbus, Ohio. It is part of the Brushstrokes series of artworks that includes several paintings and sculptures whose subject is the actions made with a house-painter's brush.


Prompt: Focus on Marriage of the Virgin (Rosso Fiorentino) and explain the abstract.

Marriage of the Virgin or the Ginori Altarpiece is a 1523 oil on panel painting by Rosso Fiorentino, signed and dated by the artist. It was commissioned by Carlo Ginori for the chapel dedicated to the Virgin Mary and Saint Joseph, in the Basilica of San Lorenzo, in Florence, previously owned by the Masi family that chapel had been acquired by the Ginori family in 1520. It still hangs in the Basilica, whilst a drawn copy attributed to Antonio Circignani is now in the Louvre (n.1592).Five figures kneel on the steps up to the main scene, with two putti and an old female saint (perhaps Saint Anne) to the left and a Dominican saint (possibly Vincent Ferrer and possibly a portrait of the painting's commissioner) and a young female saint with a book (Saint Apollonia).

File:Rosso Fiorentino - Marriage of the Virgin (detail) - WGA20126.jpg


Prompt: Explain the abstract of this artwork, Marriage of the Virgin (Rosso Fiorentino).

Marriage of the Virgin or the Ginori Altarpiece is a 1523 oil on panel painting by Rosso Fiorentino, signed and dated by the artist. It was commissioned by Carlo Ginori for the chapel dedicated to the Virgin Mary and Saint Joseph, in the Basilica of San Lorenzo, in Florence, previously owned by the Masi family that chapel had been acquired by the Ginori family in 1520. It still hangs in the Basilica, whilst a drawn copy attributed to Antonio Circignani is now in the Louvre (n.1592).Five figures kneel on the steps up to the main scene, with two putti and an old female saint (perhaps Saint Anne) to the left and a Dominican saint (possibly Vincent Ferrer and possibly a portrait of the painting's commissioner) and a young female saint with a book (Saint Apollonia).

File:Rosso Fiorentino - Marriage of the Virgin (detail) - WGA20126.jpg


Prompt: How does Marriage of the Virgin (Rosso Fiorentino) explain its abstract?

Marriage of the Virgin or the Ginori Altarpiece is a 1523 oil on panel painting by Rosso Fiorentino, signed and dated by the artist. It was commissioned by Carlo Ginori for the chapel dedicated to the Virgin Mary and Saint Joseph, in the Basilica of San Lorenzo, in Florence, previously owned by the Masi family that chapel had been acquired by the Ginori family in 1520. It still hangs in the Basilica, whilst a drawn copy attributed to Antonio Circignani is now in the Louvre (n.1592).Five figures kneel on the steps up to the main scene, with two putti and an old female saint (perhaps Saint Anne) to the left and a Dominican saint (possibly Vincent Ferrer and possibly a portrait of the painting's commissioner) and a young female saint with a book (Saint Apollonia).

File:Rosso Fiorentino - Marriage of the Virgin (detail) - WGA20126.jpg


Prompt: In Marriage of the Virgin (Rosso Fiorentino), how is the abstract discussed?

Marriage of the Virgin or the Ginori Altarpiece is a 1523 oil on panel painting by Rosso Fiorentino, signed and dated by the artist. It was commissioned by Carlo Ginori for the chapel dedicated to the Virgin Mary and Saint Joseph, in the Basilica of San Lorenzo, in Florence, previously owned by the Masi family that chapel had been acquired by the Ginori family in 1520. It still hangs in the Basilica, whilst a drawn copy attributed to Antonio Circignani is now in the Louvre (n.1592).Five figures kneel on the steps up to the main scene, with two putti and an old female saint (perhaps Saint Anne) to the left and a Dominican saint (possibly Vincent Ferrer and possibly a portrait of the painting's commissioner) and a young female saint with a book (Saint Apollonia).

File:Rosso Fiorentino - Marriage of the Virgin (detail) - WGA20126.jpg


Prompt: Focus on Marriage of the Virgin (Rosso Fiorentino) and explain the Description and style.

The scene is crowded and set symmetrically, with Joseph in the center, with the flowered mace, who is putting the ring on Mary, as they are being blessed by the priest behind them. Abandoning the iconographic tradition, Joseph is represented as a handsome young man, rather than elderly and therefore incapable of affecting Mary's virginity. Such a revolutionary choice has always interested scholars and the only possible explanation found so far is that it wants to symbolically represent the renovatio ecclesiae promoted by Leo X and carried forward by Clement VII. However, it cannot be ruled out that this was a choice by the author, an artist bordering on the irreverent, not to mention in some cases almost blasphemous. Saint Joseph has been defined as resembling David, by Donatello, according to an inspiration also found in other works by the artist.The main scene takes place at the top of some steps, at the sides of which there are some figures: two cherubs embracing each other, a Dominican monk saint pointing to the scene, perhaps Saint Vincent Ferrer (which perhaps contains the portrait of the client), an elderly saint (perhaps St. Anna) and the young saint with the book (Saint Apollonia), who is holding something metallic in her hand, perhaps a key. The identification of most of the figures remains uncertain.The gazes and gestures of these figures direct them in depth towards the central scene, according to a scheme that goes beyond the traditional pyramidal shape, transforming it into something more complex, in spaces welded within two opposing semicircles. The crowding was interpreted as "a joyful party populated by various guests".The palette is lively and iridescent, typical of mannerist experimentation, and with its darkening in depth it helps to perceive spatial depth.The frescoes by Pontormo and Franciabigio in the Chiostrino dei Voti have been indicated as sources of inspiration for the composition, in particular the Visitazione, with a similar stepped structure figures arranged in a crescent shape around the centre, and the Marriage of the Virgin, with the similar figure of the priest and the architectural backdrop located just behind the figures. New, for example compared with earlier works such as the Dei Altarpiece, is the consistency of the colour, which has become dazzling and rich in iridescent reflections, perhaps due to the influence of Perin del Vaga, who had just returned from Rome.

File:Rosso Fiorentino - Marriage of the Virgin (detail) - WGA20126.jpg


Prompt: Explain the Description and style of this artwork, Marriage of the Virgin (Rosso Fiorentino).

The scene is crowded and set symmetrically, with Joseph in the center, with the flowered mace, who is putting the ring on Mary, as they are being blessed by the priest behind them. Abandoning the iconographic tradition, Joseph is represented as a handsome young man, rather than elderly and therefore incapable of affecting Mary's virginity. Such a revolutionary choice has always interested scholars and the only possible explanation found so far is that it wants to symbolically represent the renovatio ecclesiae promoted by Leo X and carried forward by Clement VII. However, it cannot be ruled out that this was a choice by the author, an artist bordering on the irreverent, not to mention in some cases almost blasphemous. Saint Joseph has been defined as resembling David, by Donatello, according to an inspiration also found in other works by the artist.The main scene takes place at the top of some steps, at the sides of which there are some figures: two cherubs embracing each other, a Dominican monk saint pointing to the scene, perhaps Saint Vincent Ferrer (which perhaps contains the portrait of the client), an elderly saint (perhaps St. Anna) and the young saint with the book (Saint Apollonia), who is holding something metallic in her hand, perhaps a key. The identification of most of the figures remains uncertain.The gazes and gestures of these figures direct them in depth towards the central scene, according to a scheme that goes beyond the traditional pyramidal shape, transforming it into something more complex, in spaces welded within two opposing semicircles. The crowding was interpreted as "a joyful party populated by various guests".The palette is lively and iridescent, typical of mannerist experimentation, and with its darkening in depth it helps to perceive spatial depth.The frescoes by Pontormo and Franciabigio in the Chiostrino dei Voti have been indicated as sources of inspiration for the composition, in particular the Visitazione, with a similar stepped structure figures arranged in a crescent shape around the centre, and the Marriage of the Virgin, with the similar figure of the priest and the architectural backdrop located just behind the figures. New, for example compared with earlier works such as the Dei Altarpiece, is the consistency of the colour, which has become dazzling and rich in iridescent reflections, perhaps due to the influence of Perin del Vaga, who had just returned from Rome.

File:Rosso Fiorentino - Marriage of the Virgin (detail) - WGA20126.jpg


Prompt: How does Marriage of the Virgin (Rosso Fiorentino) explain its Description and style?

The scene is crowded and set symmetrically, with Joseph in the center, with the flowered mace, who is putting the ring on Mary, as they are being blessed by the priest behind them. Abandoning the iconographic tradition, Joseph is represented as a handsome young man, rather than elderly and therefore incapable of affecting Mary's virginity. Such a revolutionary choice has always interested scholars and the only possible explanation found so far is that it wants to symbolically represent the renovatio ecclesiae promoted by Leo X and carried forward by Clement VII. However, it cannot be ruled out that this was a choice by the author, an artist bordering on the irreverent, not to mention in some cases almost blasphemous. Saint Joseph has been defined as resembling David, by Donatello, according to an inspiration also found in other works by the artist.The main scene takes place at the top of some steps, at the sides of which there are some figures: two cherubs embracing each other, a Dominican monk saint pointing to the scene, perhaps Saint Vincent Ferrer (which perhaps contains the portrait of the client), an elderly saint (perhaps St. Anna) and the young saint with the book (Saint Apollonia), who is holding something metallic in her hand, perhaps a key. The identification of most of the figures remains uncertain.The gazes and gestures of these figures direct them in depth towards the central scene, according to a scheme that goes beyond the traditional pyramidal shape, transforming it into something more complex, in spaces welded within two opposing semicircles. The crowding was interpreted as "a joyful party populated by various guests".The palette is lively and iridescent, typical of mannerist experimentation, and with its darkening in depth it helps to perceive spatial depth.The frescoes by Pontormo and Franciabigio in the Chiostrino dei Voti have been indicated as sources of inspiration for the composition, in particular the Visitazione, with a similar stepped structure figures arranged in a crescent shape around the centre, and the Marriage of the Virgin, with the similar figure of the priest and the architectural backdrop located just behind the figures. New, for example compared with earlier works such as the Dei Altarpiece, is the consistency of the colour, which has become dazzling and rich in iridescent reflections, perhaps due to the influence of Perin del Vaga, who had just returned from Rome.

File:Rosso Fiorentino - Marriage of the Virgin (detail) - WGA20126.jpg


Prompt: In Marriage of the Virgin (Rosso Fiorentino), how is the Description and style discussed?

The scene is crowded and set symmetrically, with Joseph in the center, with the flowered mace, who is putting the ring on Mary, as they are being blessed by the priest behind them. Abandoning the iconographic tradition, Joseph is represented as a handsome young man, rather than elderly and therefore incapable of affecting Mary's virginity. Such a revolutionary choice has always interested scholars and the only possible explanation found so far is that it wants to symbolically represent the renovatio ecclesiae promoted by Leo X and carried forward by Clement VII. However, it cannot be ruled out that this was a choice by the author, an artist bordering on the irreverent, not to mention in some cases almost blasphemous. Saint Joseph has been defined as resembling David, by Donatello, according to an inspiration also found in other works by the artist.The main scene takes place at the top of some steps, at the sides of which there are some figures: two cherubs embracing each other, a Dominican monk saint pointing to the scene, perhaps Saint Vincent Ferrer (which perhaps contains the portrait of the client), an elderly saint (perhaps St. Anna) and the young saint with the book (Saint Apollonia), who is holding something metallic in her hand, perhaps a key. The identification of most of the figures remains uncertain.The gazes and gestures of these figures direct them in depth towards the central scene, according to a scheme that goes beyond the traditional pyramidal shape, transforming it into something more complex, in spaces welded within two opposing semicircles. The crowding was interpreted as "a joyful party populated by various guests".The palette is lively and iridescent, typical of mannerist experimentation, and with its darkening in depth it helps to perceive spatial depth.The frescoes by Pontormo and Franciabigio in the Chiostrino dei Voti have been indicated as sources of inspiration for the composition, in particular the Visitazione, with a similar stepped structure figures arranged in a crescent shape around the centre, and the Marriage of the Virgin, with the similar figure of the priest and the architectural backdrop located just behind the figures. New, for example compared with earlier works such as the Dei Altarpiece, is the consistency of the colour, which has become dazzling and rich in iridescent reflections, perhaps due to the influence of Perin del Vaga, who had just returned from Rome.

File:Rosso Fiorentino - Marriage of the Virgin (detail) - WGA20126.jpg


Stratford Mill (Constable)

Prompt: Focus on Stratford Mill (Constable) and explain the abstract.

Stratford Mill is an 1820 oil on canvas painting by the British landscape artist John Constable. It is the second painting in the series of six-footers depicting working scenes on the River Stour, a series that includes The Hay Wain. The painting is now in the collection of the National Gallery in London.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: Explain the abstract of this artwork, Stratford Mill (Constable).

Stratford Mill is an 1820 oil on canvas painting by the British landscape artist John Constable. It is the second painting in the series of six-footers depicting working scenes on the River Stour, a series that includes The Hay Wain. The painting is now in the collection of the National Gallery in London.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: How does Stratford Mill (Constable) explain its abstract?

Stratford Mill is an 1820 oil on canvas painting by the British landscape artist John Constable. It is the second painting in the series of six-footers depicting working scenes on the River Stour, a series that includes The Hay Wain. The painting is now in the collection of the National Gallery in London.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: In Stratford Mill (Constable), how is the abstract discussed?

Stratford Mill is an 1820 oil on canvas painting by the British landscape artist John Constable. It is the second painting in the series of six-footers depicting working scenes on the River Stour, a series that includes The Hay Wain. The painting is now in the collection of the National Gallery in London.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: Focus on Stratford Mill (Constable) and explain the Description.

The scene is Stratford St. Mary about two miles west of East Bergholt. Stratford Mill was a water-powered paper mill, located on a small island just outside the village, it can be seen on the far left of the picture. Constable made a sketch of children fishing by the mill in 1811 now known as Anglers at Stratford Mill (private collection), but this view extends to display more of the river, a barge and the meadow across the way.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: Explain the Description of this artwork, Stratford Mill (Constable).

The scene is Stratford St. Mary about two miles west of East Bergholt. Stratford Mill was a water-powered paper mill, located on a small island just outside the village, it can be seen on the far left of the picture. Constable made a sketch of children fishing by the mill in 1811 now known as Anglers at Stratford Mill (private collection), but this view extends to display more of the river, a barge and the meadow across the way.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: How does Stratford Mill (Constable) explain its Description?

The scene is Stratford St. Mary about two miles west of East Bergholt. Stratford Mill was a water-powered paper mill, located on a small island just outside the village, it can be seen on the far left of the picture. Constable made a sketch of children fishing by the mill in 1811 now known as Anglers at Stratford Mill (private collection), but this view extends to display more of the river, a barge and the meadow across the way.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: In Stratford Mill (Constable), how is the Description discussed?

The scene is Stratford St. Mary about two miles west of East Bergholt. Stratford Mill was a water-powered paper mill, located on a small island just outside the village, it can be seen on the far left of the picture. Constable made a sketch of children fishing by the mill in 1811 now known as Anglers at Stratford Mill (private collection), but this view extends to display more of the river, a barge and the meadow across the way.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: Focus on Stratford Mill (Constable) and explain the History.

After the success of his first 'six-footer' The White Horse, Constable abandoned plans to paint his large canvas The Opening of Waterloo Bridge seen from Whitehall Stairs, 18 June 1817, in favour of submitting a second Stour series painting. Stratford Mill was exhibited at the Royal Academy exhibition in 1820 and was a success. The Examiner described it as having ‘a more exact look of nature than any picture we have ever seen by an Englishman’. It acquired a buyer in the loyal John Fisher, who purchased the painting for 100 Guineas, a price he himself thought too low. He gifted the painting to his solicitor and friend John Pern Tinney. Tinney loved the painting and offered Constable another 100 Guineas to paint a companion picture, Constable declined. In the years to follow Tinney would have to put up with numerous requests from Constable to borrow back his prized possession for rework and exhibitions. After Tinney's death David Lucas produced a mezzotint, which was published in 1840 under the name ‘The Young Waltonians’ in reference to the Izaak Walton book, The Compleat Angler.The full size oil sketch is held by the Yale Center for British Art in New Haven.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: Explain the History of this artwork, Stratford Mill (Constable).

After the success of his first 'six-footer' The White Horse, Constable abandoned plans to paint his large canvas The Opening of Waterloo Bridge seen from Whitehall Stairs, 18 June 1817, in favour of submitting a second Stour series painting. Stratford Mill was exhibited at the Royal Academy exhibition in 1820 and was a success. The Examiner described it as having ‘a more exact look of nature than any picture we have ever seen by an Englishman’. It acquired a buyer in the loyal John Fisher, who purchased the painting for 100 Guineas, a price he himself thought too low. He gifted the painting to his solicitor and friend John Pern Tinney. Tinney loved the painting and offered Constable another 100 Guineas to paint a companion picture, Constable declined. In the years to follow Tinney would have to put up with numerous requests from Constable to borrow back his prized possession for rework and exhibitions. After Tinney's death David Lucas produced a mezzotint, which was published in 1840 under the name ‘The Young Waltonians’ in reference to the Izaak Walton book, The Compleat Angler.The full size oil sketch is held by the Yale Center for British Art in New Haven.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: How does Stratford Mill (Constable) explain its History?

After the success of his first 'six-footer' The White Horse, Constable abandoned plans to paint his large canvas The Opening of Waterloo Bridge seen from Whitehall Stairs, 18 June 1817, in favour of submitting a second Stour series painting. Stratford Mill was exhibited at the Royal Academy exhibition in 1820 and was a success. The Examiner described it as having ‘a more exact look of nature than any picture we have ever seen by an Englishman’. It acquired a buyer in the loyal John Fisher, who purchased the painting for 100 Guineas, a price he himself thought too low. He gifted the painting to his solicitor and friend John Pern Tinney. Tinney loved the painting and offered Constable another 100 Guineas to paint a companion picture, Constable declined. In the years to follow Tinney would have to put up with numerous requests from Constable to borrow back his prized possession for rework and exhibitions. After Tinney's death David Lucas produced a mezzotint, which was published in 1840 under the name ‘The Young Waltonians’ in reference to the Izaak Walton book, The Compleat Angler.The full size oil sketch is held by the Yale Center for British Art in New Haven.

Category:Paintings in the National Gallery, London


Stratford Mill (Constable)

Prompt: In Stratford Mill (Constable), how is the History discussed?

After the success of his first 'six-footer' The White Horse, Constable abandoned plans to paint his large canvas The Opening of Waterloo Bridge seen from Whitehall Stairs, 18 June 1817, in favour of submitting a second Stour series painting. Stratford Mill was exhibited at the Royal Academy exhibition in 1820 and was a success. The Examiner described it as having ‘a more exact look of nature than any picture we have ever seen by an Englishman’. It acquired a buyer in the loyal John Fisher, who purchased the painting for 100 Guineas, a price he himself thought too low. He gifted the painting to his solicitor and friend John Pern Tinney. Tinney loved the painting and offered Constable another 100 Guineas to paint a companion picture, Constable declined. In the years to follow Tinney would have to put up with numerous requests from Constable to borrow back his prized possession for rework and exhibitions. After Tinney's death David Lucas produced a mezzotint, which was published in 1840 under the name ‘The Young Waltonians’ in reference to the Izaak Walton book, The Compleat Angler.The full size oil sketch is held by the Yale Center for British Art in New Haven.

Category:Paintings in the National Gallery, London


Prompt: Focus on Statue of Mahatma Gandhi, Pietermaritzburg and explain the abstract.

Mahatma Gandhi is a bronze statue of Mahatma Gandhi in  Church Street, Pietermaritzburg, depicting the Indian independence campaigner and nonviolent pacifist as a young man.The statue was unveiled in 1993 by Archbishop Desmond Tutu, marking the centenary since Gandhi was thrown from a train at Pietermaritzburg railway station.

Category:Buildings and structures in Pietermaritzburg

Category:Sculptures of men in South Africa

Category:1993 establishments in South Africa

Category:Outdoor sculptures in South Africa


Prompt: Explain the abstract of this artwork, Statue of Mahatma Gandhi, Pietermaritzburg.

Mahatma Gandhi is a bronze statue of Mahatma Gandhi in  Church Street, Pietermaritzburg, depicting the Indian independence campaigner and nonviolent pacifist as a young man.The statue was unveiled in 1993 by Archbishop Desmond Tutu, marking the centenary since Gandhi was thrown from a train at Pietermaritzburg railway station.

Category:Buildings and structures in Pietermaritzburg

Category:Sculptures of men in South Africa

Category:1993 establishments in South Africa

Category:Outdoor sculptures in South Africa


Prompt: How does Statue of Mahatma Gandhi, Pietermaritzburg explain its abstract?

Mahatma Gandhi is a bronze statue of Mahatma Gandhi in  Church Street, Pietermaritzburg, depicting the Indian independence campaigner and nonviolent pacifist as a young man.The statue was unveiled in 1993 by Archbishop Desmond Tutu, marking the centenary since Gandhi was thrown from a train at Pietermaritzburg railway station.

Category:Buildings and structures in Pietermaritzburg

Category:Sculptures of men in South Africa

Category:1993 establishments in South Africa

Category:Outdoor sculptures in South Africa


Prompt: In Statue of Mahatma Gandhi, Pietermaritzburg, how is the abstract discussed?

Mahatma Gandhi is a bronze statue of Mahatma Gandhi in  Church Street, Pietermaritzburg, depicting the Indian independence campaigner and nonviolent pacifist as a young man.The statue was unveiled in 1993 by Archbishop Desmond Tutu, marking the centenary since Gandhi was thrown from a train at Pietermaritzburg railway station.

Category:Buildings and structures in Pietermaritzburg

Category:Sculptures of men in South Africa

Category:1993 establishments in South Africa

Category:Outdoor sculptures in South Africa


Sleeping Venus (Delvaux)

Prompt: Focus on Sleeping Venus (Delvaux) and explain the abstract.

Sleeping Venus (French: La Vénus endormie) is a 1944 painting by the Belgian artist Paul Delvaux. It depicts a reclining Venus surrounded by anguished people at a town square with classical buildings. It was painted in Brussels while the city was bombed during World War II and Delvaux wanted to contrast the psychological drama of the moment with the calm Venus. The painting has been in the collection of Tate in London since 1957.

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: Explain the abstract of this artwork, Sleeping Venus (Delvaux).

Sleeping Venus (French: La Vénus endormie) is a 1944 painting by the Belgian artist Paul Delvaux. It depicts a reclining Venus surrounded by anguished people at a town square with classical buildings. It was painted in Brussels while the city was bombed during World War II and Delvaux wanted to contrast the psychological drama of the moment with the calm Venus. The painting has been in the collection of Tate in London since 1957.

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: How does Sleeping Venus (Delvaux) explain its abstract?

Sleeping Venus (French: La Vénus endormie) is a 1944 painting by the Belgian artist Paul Delvaux. It depicts a reclining Venus surrounded by anguished people at a town square with classical buildings. It was painted in Brussels while the city was bombed during World War II and Delvaux wanted to contrast the psychological drama of the moment with the calm Venus. The painting has been in the collection of Tate in London since 1957.

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: In Sleeping Venus (Delvaux), how is the abstract discussed?

Sleeping Venus (French: La Vénus endormie) is a 1944 painting by the Belgian artist Paul Delvaux. It depicts a reclining Venus surrounded by anguished people at a town square with classical buildings. It was painted in Brussels while the city was bombed during World War II and Delvaux wanted to contrast the psychological drama of the moment with the calm Venus. The painting has been in the collection of Tate in London since 1957.

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: Focus on Sleeping Venus (Delvaux) and explain the Subject and composition.

Sleeping Venus depicts a town square flanked by classical buildings at night. To the right is a building with two horses' heads, based on decorations from the old Cirque Royal in Brussels, and at the back is a closed temple or temple-like building. The square is populated by several nude women with their arms stretched out as in desperation; in the foreground a woman enters from the right with an upset expression, and several women gesture while on their knees. To the left at the front are a standing skeleton and a clothed dressmaker's dummy. Dominating the picture at the front is a chaise longue in Empire style where a nude Venus figure reclines with closed eyes and her hands behind her head. Sleeping Venus is painted in oil on canvas and has the dimensions 172.7 cm × 199.1 cm (68.0 in × 78.4 in). It is signed "P. DELVAUX / 11-44".

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: Explain the Subject and composition of this artwork, Sleeping Venus (Delvaux).

Sleeping Venus depicts a town square flanked by classical buildings at night. To the right is a building with two horses' heads, based on decorations from the old Cirque Royal in Brussels, and at the back is a closed temple or temple-like building. The square is populated by several nude women with their arms stretched out as in desperation; in the foreground a woman enters from the right with an upset expression, and several women gesture while on their knees. To the left at the front are a standing skeleton and a clothed dressmaker's dummy. Dominating the picture at the front is a chaise longue in Empire style where a nude Venus figure reclines with closed eyes and her hands behind her head. Sleeping Venus is painted in oil on canvas and has the dimensions 172.7 cm × 199.1 cm (68.0 in × 78.4 in). It is signed "P. DELVAUX / 11-44".

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: How does Sleeping Venus (Delvaux) explain its Subject and composition?

Sleeping Venus depicts a town square flanked by classical buildings at night. To the right is a building with two horses' heads, based on decorations from the old Cirque Royal in Brussels, and at the back is a closed temple or temple-like building. The square is populated by several nude women with their arms stretched out as in desperation; in the foreground a woman enters from the right with an upset expression, and several women gesture while on their knees. To the left at the front are a standing skeleton and a clothed dressmaker's dummy. Dominating the picture at the front is a chaise longue in Empire style where a nude Venus figure reclines with closed eyes and her hands behind her head. Sleeping Venus is painted in oil on canvas and has the dimensions 172.7 cm × 199.1 cm (68.0 in × 78.4 in). It is signed "P. DELVAUX / 11-44".

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: In Sleeping Venus (Delvaux), how is the Subject and composition discussed?

Sleeping Venus depicts a town square flanked by classical buildings at night. To the right is a building with two horses' heads, based on decorations from the old Cirque Royal in Brussels, and at the back is a closed temple or temple-like building. The square is populated by several nude women with their arms stretched out as in desperation; in the foreground a woman enters from the right with an upset expression, and several women gesture while on their knees. To the left at the front are a standing skeleton and a clothed dressmaker's dummy. Dominating the picture at the front is a chaise longue in Empire style where a nude Venus figure reclines with closed eyes and her hands behind her head. Sleeping Venus is painted in oil on canvas and has the dimensions 172.7 cm × 199.1 cm (68.0 in × 78.4 in). It is signed "P. DELVAUX / 11-44".

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: Focus on Sleeping Venus (Delvaux) and explain the Analysis and reception.

This was the fourth painting titled Sleeping Venus made by Paul Delvaux; the previous were made in 1932, 1943 and earlier in 1944. The subject had engaged Delvaux since a visit in 1929 or 1930 to the Spitzner Museum, a cabinet of curiosities that was part of the Foire du Midi, which is a yearly fair in Brussels. He was fascinated by the contrast between the fair, the monstrosities of the museum, and a wax sculpture of a sleeping Venus that was part of the museum's exhibition. This wax figure became the model for all his paintings of Venus. Delvaux made the fourth Sleeping Venus in Brussels while the city was bombed during World War II. He said he wanted to express the psychological "drama and anguish" of the moment and contrast it with "the calm of Venus".The art historian Virginie Devillers says all of Delvaux's Venus paintings portray a state between sleep and wakefulness and share their contrast between calm and violence. The paintings from 1944 stand out due to their involvement of other characters, and the second of them differs from the first with its outdoors setting and more dramatic staging, expressing the tension of a particular time and place. The historian of politics Jill Locke uses the painting as a meditation on shame and politics, and says its images of the calm, shamelessly nude Venus, the upset mourners and the seemingly abandoned political buildings can be viewed as an ambivalent depiction of "threat, stasis, and possibility".

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: Explain the Analysis and reception of this artwork, Sleeping Venus (Delvaux).

This was the fourth painting titled Sleeping Venus made by Paul Delvaux; the previous were made in 1932, 1943 and earlier in 1944. The subject had engaged Delvaux since a visit in 1929 or 1930 to the Spitzner Museum, a cabinet of curiosities that was part of the Foire du Midi, which is a yearly fair in Brussels. He was fascinated by the contrast between the fair, the monstrosities of the museum, and a wax sculpture of a sleeping Venus that was part of the museum's exhibition. This wax figure became the model for all his paintings of Venus. Delvaux made the fourth Sleeping Venus in Brussels while the city was bombed during World War II. He said he wanted to express the psychological "drama and anguish" of the moment and contrast it with "the calm of Venus".The art historian Virginie Devillers says all of Delvaux's Venus paintings portray a state between sleep and wakefulness and share their contrast between calm and violence. The paintings from 1944 stand out due to their involvement of other characters, and the second of them differs from the first with its outdoors setting and more dramatic staging, expressing the tension of a particular time and place. The historian of politics Jill Locke uses the painting as a meditation on shame and politics, and says its images of the calm, shamelessly nude Venus, the upset mourners and the seemingly abandoned political buildings can be viewed as an ambivalent depiction of "threat, stasis, and possibility".

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: How does Sleeping Venus (Delvaux) explain its Analysis and reception?

This was the fourth painting titled Sleeping Venus made by Paul Delvaux; the previous were made in 1932, 1943 and earlier in 1944. The subject had engaged Delvaux since a visit in 1929 or 1930 to the Spitzner Museum, a cabinet of curiosities that was part of the Foire du Midi, which is a yearly fair in Brussels. He was fascinated by the contrast between the fair, the monstrosities of the museum, and a wax sculpture of a sleeping Venus that was part of the museum's exhibition. This wax figure became the model for all his paintings of Venus. Delvaux made the fourth Sleeping Venus in Brussels while the city was bombed during World War II. He said he wanted to express the psychological "drama and anguish" of the moment and contrast it with "the calm of Venus".The art historian Virginie Devillers says all of Delvaux's Venus paintings portray a state between sleep and wakefulness and share their contrast between calm and violence. The paintings from 1944 stand out due to their involvement of other characters, and the second of them differs from the first with its outdoors setting and more dramatic staging, expressing the tension of a particular time and place. The historian of politics Jill Locke uses the painting as a meditation on shame and politics, and says its images of the calm, shamelessly nude Venus, the upset mourners and the seemingly abandoned political buildings can be viewed as an ambivalent depiction of "threat, stasis, and possibility".

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: In Sleeping Venus (Delvaux), how is the Analysis and reception discussed?

This was the fourth painting titled Sleeping Venus made by Paul Delvaux; the previous were made in 1932, 1943 and earlier in 1944. The subject had engaged Delvaux since a visit in 1929 or 1930 to the Spitzner Museum, a cabinet of curiosities that was part of the Foire du Midi, which is a yearly fair in Brussels. He was fascinated by the contrast between the fair, the monstrosities of the museum, and a wax sculpture of a sleeping Venus that was part of the museum's exhibition. This wax figure became the model for all his paintings of Venus. Delvaux made the fourth Sleeping Venus in Brussels while the city was bombed during World War II. He said he wanted to express the psychological "drama and anguish" of the moment and contrast it with "the calm of Venus".The art historian Virginie Devillers says all of Delvaux's Venus paintings portray a state between sleep and wakefulness and share their contrast between calm and violence. The paintings from 1944 stand out due to their involvement of other characters, and the second of them differs from the first with its outdoors setting and more dramatic staging, expressing the tension of a particular time and place. The historian of politics Jill Locke uses the painting as a meditation on shame and politics, and says its images of the calm, shamelessly nude Venus, the upset mourners and the seemingly abandoned political buildings can be viewed as an ambivalent depiction of "threat, stasis, and possibility".

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: Focus on Sleeping Venus (Delvaux) and explain the Provenance.

Carlo van den Bosch in Antwerp purchased Sleeping Venus from Delvaux in 1944. It was purchased by Baron Urvater in 1957 for presentation at Tate in London, where it has been since then. The English rock band Bauhaus used a detail as cover art for the single "Dark Entries" in 1980.

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: Explain the Provenance of this artwork, Sleeping Venus (Delvaux).

Carlo van den Bosch in Antwerp purchased Sleeping Venus from Delvaux in 1944. It was purchased by Baron Urvater in 1957 for presentation at Tate in London, where it has been since then. The English rock band Bauhaus used a detail as cover art for the single "Dark Entries" in 1980.

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: How does Sleeping Venus (Delvaux) explain its Provenance?

Carlo van den Bosch in Antwerp purchased Sleeping Venus from Delvaux in 1944. It was purchased by Baron Urvater in 1957 for presentation at Tate in London, where it has been since then. The English rock band Bauhaus used a detail as cover art for the single "Dark Entries" in 1980.

Category:Paintings in the Tate galleries


Sleeping Venus (Delvaux)

Prompt: In Sleeping Venus (Delvaux), how is the Provenance discussed?

Carlo van den Bosch in Antwerp purchased Sleeping Venus from Delvaux in 1944. It was purchased by Baron Urvater in 1957 for presentation at Tate in London, where it has been since then. The English rock band Bauhaus used a detail as cover art for the single "Dark Entries" in 1980.

Category:Paintings in the Tate galleries


Sagarakanyaka

Prompt: Focus on Sagarakanyaka and explain the abstract.

Sagarakanyaka is a sculpture of a mermaid situated at the Shankumugham Beach,  Kerala. Sculpted by Kanayi Kunhiraman, it is adjudged by the Guinness Book of World Records as the largest merperson sculpture in the world. It has a length of 87 ft and a height of 25 ft. Kunhiraman took two years to complete the sculpture which was finally completed in 1992.

Category:Buildings and structures in Thiruvananthapuram


Sagarakanyaka

Prompt: Explain the abstract of this artwork, Sagarakanyaka.

Sagarakanyaka is a sculpture of a mermaid situated at the Shankumugham Beach,  Kerala. Sculpted by Kanayi Kunhiraman, it is adjudged by the Guinness Book of World Records as the largest merperson sculpture in the world. It has a length of 87 ft and a height of 25 ft. Kunhiraman took two years to complete the sculpture which was finally completed in 1992.

Category:Buildings and structures in Thiruvananthapuram


Sagarakanyaka

Prompt: How does Sagarakanyaka explain its abstract?

Sagarakanyaka is a sculpture of a mermaid situated at the Shankumugham Beach,  Kerala. Sculpted by Kanayi Kunhiraman, it is adjudged by the Guinness Book of World Records as the largest merperson sculpture in the world. It has a length of 87 ft and a height of 25 ft. Kunhiraman took two years to complete the sculpture which was finally completed in 1992.

Category:Buildings and structures in Thiruvananthapuram


Sagarakanyaka

Prompt: In Sagarakanyaka, how is the abstract discussed?

Sagarakanyaka is a sculpture of a mermaid situated at the Shankumugham Beach,  Kerala. Sculpted by Kanayi Kunhiraman, it is adjudged by the Guinness Book of World Records as the largest merperson sculpture in the world. It has a length of 87 ft and a height of 25 ft. Kunhiraman took two years to complete the sculpture which was finally completed in 1992.

Category:Buildings and structures in Thiruvananthapuram


Sagarakanyaka

Prompt: Focus on Sagarakanyaka and explain the Overview.

Kunhiraman completed the sculpture without taking any remuneration. During the construction, the District Collector ordered to stop the construction of the sculpture by saying it was obscene. But K. Karunakaran, who was the Chief Minister at that time intervened and suggested the completion of the sculpture upon the request of Kunhiraman. In October 2022, it was adjudged  as the largest merperson sculpture in the world by the Guinness Book of World Records.

Category:Buildings and structures in Thiruvananthapuram


Sagarakanyaka

Prompt: Explain the Overview of this artwork, Sagarakanyaka.

Kunhiraman completed the sculpture without taking any remuneration. During the construction, the District Collector ordered to stop the construction of the sculpture by saying it was obscene. But K. Karunakaran, who was the Chief Minister at that time intervened and suggested the completion of the sculpture upon the request of Kunhiraman. In October 2022, it was adjudged  as the largest merperson sculpture in the world by the Guinness Book of World Records.

Category:Buildings and structures in Thiruvananthapuram


Sagarakanyaka

Prompt: How does Sagarakanyaka explain its Overview?

Kunhiraman completed the sculpture without taking any remuneration. During the construction, the District Collector ordered to stop the construction of the sculpture by saying it was obscene. But K. Karunakaran, who was the Chief Minister at that time intervened and suggested the completion of the sculpture upon the request of Kunhiraman. In October 2022, it was adjudged  as the largest merperson sculpture in the world by the Guinness Book of World Records.

Category:Buildings and structures in Thiruvananthapuram


Sagarakanyaka

Prompt: In Sagarakanyaka, how is the Overview discussed?

Kunhiraman completed the sculpture without taking any remuneration. During the construction, the District Collector ordered to stop the construction of the sculpture by saying it was obscene. But K. Karunakaran, who was the Chief Minister at that time intervened and suggested the completion of the sculpture upon the request of Kunhiraman. In October 2022, it was adjudged  as the largest merperson sculpture in the world by the Guinness Book of World Records.

Category:Buildings and structures in Thiruvananthapuram


Statue of Jayavarma

Prompt: Focus on Statue of Jayavarma and explain the abstract.

The Statue of Jayavarma (Nepali: जयवर्माको मूर्ति) is a sculpture of King Jayavarma.It was found in 1992 in Maligaon, Kathmandu and it dates back to 184/185 AD. The inscription is written in Gupta style Brahmi script and its the Jayavarma's name and the year.The Statue of Jayavarma is currently kept at the National Museum of Nepal. It is considered that the Statue of Jayavarma is the oldest sandstone sculpture in Nepal.In 2004, the Government of Nepal, issued stamps featuring the Statue of Jayavarma.

Postage stamps and postal history of Nepal

Category:Archaeological discoveries in Nepal


Statue of Jayavarma

Prompt: Explain the abstract of this artwork, Statue of Jayavarma.

The Statue of Jayavarma (Nepali: जयवर्माको मूर्ति) is a sculpture of King Jayavarma.It was found in 1992 in Maligaon, Kathmandu and it dates back to 184/185 AD. The inscription is written in Gupta style Brahmi script and its the Jayavarma's name and the year.The Statue of Jayavarma is currently kept at the National Museum of Nepal. It is considered that the Statue of Jayavarma is the oldest sandstone sculpture in Nepal.In 2004, the Government of Nepal, issued stamps featuring the Statue of Jayavarma.

Postage stamps and postal history of Nepal

Category:Archaeological discoveries in Nepal


Statue of Jayavarma

Prompt: How does Statue of Jayavarma explain its abstract?

The Statue of Jayavarma (Nepali: जयवर्माको मूर्ति) is a sculpture of King Jayavarma.It was found in 1992 in Maligaon, Kathmandu and it dates back to 184/185 AD. The inscription is written in Gupta style Brahmi script and its the Jayavarma's name and the year.The Statue of Jayavarma is currently kept at the National Museum of Nepal. It is considered that the Statue of Jayavarma is the oldest sandstone sculpture in Nepal.In 2004, the Government of Nepal, issued stamps featuring the Statue of Jayavarma.

Postage stamps and postal history of Nepal

Category:Archaeological discoveries in Nepal


Statue of Jayavarma

Prompt: In Statue of Jayavarma, how is the abstract discussed?

The Statue of Jayavarma (Nepali: जयवर्माको मूर्ति) is a sculpture of King Jayavarma.It was found in 1992 in Maligaon, Kathmandu and it dates back to 184/185 AD. The inscription is written in Gupta style Brahmi script and its the Jayavarma's name and the year.The Statue of Jayavarma is currently kept at the National Museum of Nepal. It is considered that the Statue of Jayavarma is the oldest sandstone sculpture in Nepal.In 2004, the Government of Nepal, issued stamps featuring the Statue of Jayavarma.

Postage stamps and postal history of Nepal

Category:Archaeological discoveries in Nepal


Kneeling Camels

Prompt: Focus on Kneeling Camels and explain the abstract.

Kneeling Camels is a public art work by Paul Moulon located at front entrance of the Tripoli Shrine Temple, a civic organization in the Concordia neighborhood west of downtown Milwaukee, Wisconsin. The work consists of two large camels carved from stone. The two sculptures were installed in 1928 at a cost of $10,000.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: Explain the abstract of this artwork, Kneeling Camels.

Kneeling Camels is a public art work by Paul Moulon located at front entrance of the Tripoli Shrine Temple, a civic organization in the Concordia neighborhood west of downtown Milwaukee, Wisconsin. The work consists of two large camels carved from stone. The two sculptures were installed in 1928 at a cost of $10,000.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: How does Kneeling Camels explain its abstract?

Kneeling Camels is a public art work by Paul Moulon located at front entrance of the Tripoli Shrine Temple, a civic organization in the Concordia neighborhood west of downtown Milwaukee, Wisconsin. The work consists of two large camels carved from stone. The two sculptures were installed in 1928 at a cost of $10,000.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: In Kneeling Camels, how is the abstract discussed?

Kneeling Camels is a public art work by Paul Moulon located at front entrance of the Tripoli Shrine Temple, a civic organization in the Concordia neighborhood west of downtown Milwaukee, Wisconsin. The work consists of two large camels carved from stone. The two sculptures were installed in 1928 at a cost of $10,000.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: Focus on Kneeling Camels and explain the Description.

The camels flank the stairway entrance to the Tripoli Shrine Temple on West Wisconsin Avenue. The carving on each camel includes details such as reins and saddle, both with tassel decoration. Temple business administrator George Vignyvich told the Milwaukee Journal Sentinel, that the camels are "one of the symbols used by the Shrine. Other Tripoli shrines use live camels. We use concrete ones."

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: Explain the Description of this artwork, Kneeling Camels.

The camels flank the stairway entrance to the Tripoli Shrine Temple on West Wisconsin Avenue. The carving on each camel includes details such as reins and saddle, both with tassel decoration. Temple business administrator George Vignyvich told the Milwaukee Journal Sentinel, that the camels are "one of the symbols used by the Shrine. Other Tripoli shrines use live camels. We use concrete ones."

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: How does Kneeling Camels explain its Description?

The camels flank the stairway entrance to the Tripoli Shrine Temple on West Wisconsin Avenue. The carving on each camel includes details such as reins and saddle, both with tassel decoration. Temple business administrator George Vignyvich told the Milwaukee Journal Sentinel, that the camels are "one of the symbols used by the Shrine. Other Tripoli shrines use live camels. We use concrete ones."

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: In Kneeling Camels, how is the Description discussed?

The camels flank the stairway entrance to the Tripoli Shrine Temple on West Wisconsin Avenue. The carving on each camel includes details such as reins and saddle, both with tassel decoration. Temple business administrator George Vignyvich told the Milwaukee Journal Sentinel, that the camels are "one of the symbols used by the Shrine. Other Tripoli shrines use live camels. We use concrete ones."

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: Focus on Kneeling Camels and explain the Information.

The camels were commissioned by Louis Kuehn, a Shrine leader and founder of the Milwaukee Corrugating Company, the largest sheet metal company in the Midwest, and an organizer of the Milwaukee Rolling Mill. Kuehn arranged the commission while traveling in Europe.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: Explain the Information of this artwork, Kneeling Camels.

The camels were commissioned by Louis Kuehn, a Shrine leader and founder of the Milwaukee Corrugating Company, the largest sheet metal company in the Midwest, and an organizer of the Milwaukee Rolling Mill. Kuehn arranged the commission while traveling in Europe.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: How does Kneeling Camels explain its Information?

The camels were commissioned by Louis Kuehn, a Shrine leader and founder of the Milwaukee Corrugating Company, the largest sheet metal company in the Midwest, and an organizer of the Milwaukee Rolling Mill. Kuehn arranged the commission while traveling in Europe.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: In Kneeling Camels, how is the Information discussed?

The camels were commissioned by Louis Kuehn, a Shrine leader and founder of the Milwaukee Corrugating Company, the largest sheet metal company in the Midwest, and an organizer of the Milwaukee Rolling Mill. Kuehn arranged the commission while traveling in Europe.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: Focus on Kneeling Camels and explain the Reception.

The camels are popular among visitors, many of whom attempt to climb on top of them for photo opportunities.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: Explain the Reception of this artwork, Kneeling Camels.

The camels are popular among visitors, many of whom attempt to climb on top of them for photo opportunities.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: How does Kneeling Camels explain its Reception?

The camels are popular among visitors, many of whom attempt to climb on top of them for photo opportunities.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: In Kneeling Camels, how is the Reception discussed?

The camels are popular among visitors, many of whom attempt to climb on top of them for photo opportunities.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: Focus on Kneeling Camels and explain the Condition.

Save Outdoor Sculpture! volunteers conducting a condition survey for the Smithsonian Institution urgently recommended treatment for the sculptures in 1997.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: Explain the Condition of this artwork, Kneeling Camels.

Save Outdoor Sculpture! volunteers conducting a condition survey for the Smithsonian Institution urgently recommended treatment for the sculptures in 1997.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: How does Kneeling Camels explain its Condition?

Save Outdoor Sculpture! volunteers conducting a condition survey for the Smithsonian Institution urgently recommended treatment for the sculptures in 1997.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Kneeling Camels

Prompt: In Kneeling Camels, how is the Condition discussed?

Save Outdoor Sculpture! volunteers conducting a condition survey for the Smithsonian Institution urgently recommended treatment for the sculptures in 1997.

Category:1920s establishments in Wisconsin

Category:Outdoor sculptures in Milwaukee


Prompt: Focus on Virgin Glykofilousa with the Akathist Hymn (Tzangarolas) and explain the abstract.

The Virgin Glykofilousa with the Akathist Hymn is a tempera painting created by Greek painter Stephano Tzangarola.  The work is a symbol of the craftsmanship of the Heptanese achool and the evolution of Greek painting from the Byzantine style to the Cretan Renaissance style.  Tzangarola was originally from Crete and migrated to Corfu.  The Ionian Islands became the artistic center of the Greek world.  He was active from 1675 to 1710 during the Greek Baroque period and Rococo.  Twenty-two of his works survived.  His student was famous Greek painter and Archpriest Andreas Karantinos.The Akathist Hymn was a major theme in Italian-Greek Byzantine paintings.  The Akathist Hymn is a very popular chant sang in both Greek and Latin.  The hymn begins with: to you, invincible champion addressed to the Panagia Theotokos (Virgin Mary).  It contains 24 components with musical stories mostly venerating the Virgin Mary.  Some parts include Christ. Artists created the pictorial representation of the Akathist Hymn.  One of the most notable artists to use the Akathist Hymn was Georgios Klontzas.  He added the theme to his In Thee Rejoiceth.  The masterpiece became popular and copied by many artists of the Cretan Renaissance. The entire piece venerates the Virgin Mary.The central portion of The Virgin Glykofilousa with the Akathist Hymn closely resembles an earlier painting created by Titian.  Many Greek painters were influenced by Venetian painting namely in Crete and the Ionian islands.  Tzangarola's student Andreas Karantinos created three works similar to his teacher's painting.  Two of them are in very good condition.  The Virgin Glykofilousa (Karantinos) and the Panagia Sami.  The Virgin Glykofilousa with the Akathist Hymn is part of the collection of the Monastery and Museum of Saint Andrew in Kephalonia.  The painting is frequently exhibited all over the world.

Category:Paintings of the Heptanese school


Prompt: Explain the abstract of this artwork, Virgin Glykofilousa with the Akathist Hymn (Tzangarolas).

The Virgin Glykofilousa with the Akathist Hymn is a tempera painting created by Greek painter Stephano Tzangarola.  The work is a symbol of the craftsmanship of the Heptanese achool and the evolution of Greek painting from the Byzantine style to the Cretan Renaissance style.  Tzangarola was originally from Crete and migrated to Corfu.  The Ionian Islands became the artistic center of the Greek world.  He was active from 1675 to 1710 during the Greek Baroque period and Rococo.  Twenty-two of his works survived.  His student was famous Greek painter and Archpriest Andreas Karantinos.The Akathist Hymn was a major theme in Italian-Greek Byzantine paintings.  The Akathist Hymn is a very popular chant sang in both Greek and Latin.  The hymn begins with: to you, invincible champion addressed to the Panagia Theotokos (Virgin Mary).  It contains 24 components with musical stories mostly venerating the Virgin Mary.  Some parts include Christ. Artists created the pictorial representation of the Akathist Hymn.  One of the most notable artists to use the Akathist Hymn was Georgios Klontzas.  He added the theme to his In Thee Rejoiceth.  The masterpiece became popular and copied by many artists of the Cretan Renaissance. The entire piece venerates the Virgin Mary.The central portion of The Virgin Glykofilousa with the Akathist Hymn closely resembles an earlier painting created by Titian.  Many Greek painters were influenced by Venetian painting namely in Crete and the Ionian islands.  Tzangarola's student Andreas Karantinos created three works similar to his teacher's painting.  Two of them are in very good condition.  The Virgin Glykofilousa (Karantinos) and the Panagia Sami.  The Virgin Glykofilousa with the Akathist Hymn is part of the collection of the Monastery and Museum of Saint Andrew in Kephalonia.  The painting is frequently exhibited all over the world.

Category:Paintings of the Heptanese school


Prompt: How does Virgin Glykofilousa with the Akathist Hymn (Tzangarolas) explain its abstract?

The Virgin Glykofilousa with the Akathist Hymn is a tempera painting created by Greek painter Stephano Tzangarola.  The work is a symbol of the craftsmanship of the Heptanese achool and the evolution of Greek painting from the Byzantine style to the Cretan Renaissance style.  Tzangarola was originally from Crete and migrated to Corfu.  The Ionian Islands became the artistic center of the Greek world.  He was active from 1675 to 1710 during the Greek Baroque period and Rococo.  Twenty-two of his works survived.  His student was famous Greek painter and Archpriest Andreas Karantinos.The Akathist Hymn was a major theme in Italian-Greek Byzantine paintings.  The Akathist Hymn is a very popular chant sang in both Greek and Latin.  The hymn begins with: to you, invincible champion addressed to the Panagia Theotokos (Virgin Mary).  It contains 24 components with musical stories mostly venerating the Virgin Mary.  Some parts include Christ. Artists created the pictorial representation of the Akathist Hymn.  One of the most notable artists to use the Akathist Hymn was Georgios Klontzas.  He added the theme to his In Thee Rejoiceth.  The masterpiece became popular and copied by many artists of the Cretan Renaissance. The entire piece venerates the Virgin Mary.The central portion of The Virgin Glykofilousa with the Akathist Hymn closely resembles an earlier painting created by Titian.  Many Greek painters were influenced by Venetian painting namely in Crete and the Ionian islands.  Tzangarola's student Andreas Karantinos created three works similar to his teacher's painting.  Two of them are in very good condition.  The Virgin Glykofilousa (Karantinos) and the Panagia Sami.  The Virgin Glykofilousa with the Akathist Hymn is part of the collection of the Monastery and Museum of Saint Andrew in Kephalonia.  The painting is frequently exhibited all over the world.

Category:Paintings of the Heptanese school


Prompt: In Virgin Glykofilousa with the Akathist Hymn (Tzangarolas), how is the abstract discussed?

The Virgin Glykofilousa with the Akathist Hymn is a tempera painting created by Greek painter Stephano Tzangarola.  The work is a symbol of the craftsmanship of the Heptanese achool and the evolution of Greek painting from the Byzantine style to the Cretan Renaissance style.  Tzangarola was originally from Crete and migrated to Corfu.  The Ionian Islands became the artistic center of the Greek world.  He was active from 1675 to 1710 during the Greek Baroque period and Rococo.  Twenty-two of his works survived.  His student was famous Greek painter and Archpriest Andreas Karantinos.The Akathist Hymn was a major theme in Italian-Greek Byzantine paintings.  The Akathist Hymn is a very popular chant sang in both Greek and Latin.  The hymn begins with: to you, invincible champion addressed to the Panagia Theotokos (Virgin Mary).  It contains 24 components with musical stories mostly venerating the Virgin Mary.  Some parts include Christ. Artists created the pictorial representation of the Akathist Hymn.  One of the most notable artists to use the Akathist Hymn was Georgios Klontzas.  He added the theme to his In Thee Rejoiceth.  The masterpiece became popular and copied by many artists of the Cretan Renaissance. The entire piece venerates the Virgin Mary.The central portion of The Virgin Glykofilousa with the Akathist Hymn closely resembles an earlier painting created by Titian.  Many Greek painters were influenced by Venetian painting namely in Crete and the Ionian islands.  Tzangarola's student Andreas Karantinos created three works similar to his teacher's painting.  Two of them are in very good condition.  The Virgin Glykofilousa (Karantinos) and the Panagia Sami.  The Virgin Glykofilousa with the Akathist Hymn is part of the collection of the Monastery and Museum of Saint Andrew in Kephalonia.  The painting is frequently exhibited all over the world.

Category:Paintings of the Heptanese school


Prompt: Focus on Virgin Glykofilousa with the Akathist Hymn (Tzangarolas) and explain the Description.

The Virgin Glykofilousa with the Akathist Hymn is an egg tempera painting with gold leaf on a wood panel. The height is 92 cm (36.2 in) and the width: 65 cm (25.5 in).  The work was completed in 1700.  The work exhibits a mixture of the Greek Baroque, Late Cretan School, and the Rococo.  Both Emmanuel Tzanes and Ioannis Moskos implemented stylistically similar elements the Rococo decorative gold background was common two both artists.  Tzangarola decorated his work with complex rococo patterns namely above the Virgin's head.  On the same ornate Rococo decoration, two seraphim appear to our left and right.  Below the decoration are the classic symbols ΜΡ ΘΥ.  Τhe letters ΜΡ ΘΥ are short for ΜΗΤΗΡ ΘΕΟΥ, it means Mother of God.  The Greek symbols are on countless Greek and Italian paintings.The Virgin and Child appear in the traditional glykophilousa (Virgin of the sweet kiss) or the eleusa Virgin (Virgin of compassion) position.  The Virgin has a humble expression of innocence as she looks at her viewers.  She embraces the infant Christ.  Both figures are painted in the Italian manner. The painter adds realism while combining the maniera greca and the Italian style.The Virgin and Child are weightless figures floating in space.  The young majestic boy relays innocence, charm, and charisma.  His reddish curly hair is the same color as the Theotokos.  His small hand embraces his mother as she tightly holds her child.  His right foot is arched as it rests on her garment. The Virgin's garment is painted in rich detail and color and is gracefully arranged in loose folds.  The gold trim of her sumptuous gown is representative of the celestial realm from which she has descended.Twenty-four scenes surround the heavenly figures.  Each scene depicts a pictorial story of the Akathist Hymn. Most of the small scenes depict an illustration from the life of the Virgin Mary.  The nativity, crucifixion, and resurrection are included.  The artist adds spacial depth and three-dimensionality to each frame.

Category:Paintings of the Heptanese school