The Sphere

Prompt: How does The Sphere explain its Artwork?

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y. (catalogue raisonné Sk 416)  dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States.After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring 3.3 feet (1.0 m) high, with a diameter of 82 feet (25 m), the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water (600 liters) per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is 25 feet (7.6 m) high and has a diameter of 17 feet (5.2 m). Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near Landshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the Artwork discussed?

The creation of the originally titled Große Kugelkaryatide N.Y. / Great  Caryatid  Sphere  N.Y. (catalogue raisonné Sk 416)  dates to the 1960s and early 1970s. At that time Fritz Koenig was established as an artist in the United States.After the World Trade Center's architect Minoru Yamasaki had seen the work of the German sculptor in the George W. Staempfli Gallery in New York, he asked Koenig to create a sculpture including a fountain for the space between the World Trade Center's twin towers, which were then under construction. In 1967, Koenig was awarded the contract by the Port Authority of New York and New Jersey as the client and property owner of the development.The Sphere falls into Koenig's creative phase of various caryatids, in which Koenig stages a struggle with constricting or burdensome geometrizing masses. With his sculpture Koenig wanted to mark a formal contrast to the skyscrapers. Mounted on a porphyry disk measuring 3.3 feet (1.0 m) high, with a diameter of 82 feet (25 m), the sphere rotated once around its axis within 15 minutes. One hundred and sixty gallons of water (600 liters) per second flowed out of the nozzles of the associated Plaza Fountain. The well water was sprayed in a ring running around the sphere onto a flat surface adjacent to the sphere. This should give the impression that the spherical caryatid rises out of the water. The highly complex technology of the system was designed at the Institute for Hydrology and River Basin Management at the Technical University of Munich, where Koenig had been a lecturer since 1964. The largest bronze sculpture of modern times weighs over twenty tons, is 25 feet (7.6 m) high and has a diameter of 17 feet (5.2 m). Koenig called it his "biggest child".The sculpture was made between late 1968/early 1969 to the end of 1971 in Ganslberg near Landshut, where Fritz Koenig lived. The work on the plaster model in its original size required the construction of a new workshop hall near Koenig's homestead and actual studio. Koenig was supported in the production of his work of art by his long-time assistant Hugo Jahn and the South Tyrolean sculptor Josef Plankensteiner. From 1969 the plaster elements of the sphere, dismantled into 67 individual parts, were cast in bronze in the Munich art foundry Hans Mayr. Then the individual bronze segments with a total combined weight of seventeen tons were brought to the workshop in Ganslberg and assembled there. After four years of planning and manufacturing, the finished sculpture was dismantled again and transported to the port of Bremen with low loaders and trucks. The bronze elements of the sphere and the base were put together again on site so that Koenig's sculpture as a whole could set off by sea across the Atlantic to New York in a specially made, oversized wooden transport box. In 1971, The Sphere was finally installed on the World Trade Center's plaza and ceremoniously unveiled a little later. The sculpture, including the fountain, marked the center of the development and was a popular meeting place for New Yorkers. The work of art was dedicated to "world peace through trade". The original name "Große Kugelkaryatide N.Y." did not catch on with the New Yorkers. They called the spherical sculpture "Koenig Sphere" or simply "The Sphere".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In the context of The Sphere, explain the Immediately after the attacks and the Relocation after 9/11.

After the September 11 attacks, upon recovery from the rubble pile, the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Explain the Immediately after the attacks about the Relocation after 9/11 of this artwork, The Sphere.

After the September 11 attacks, upon recovery from the rubble pile, the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the Immediately after the attacks of the Relocation after 9/11 explained?

After the September 11 attacks, upon recovery from the rubble pile, the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Describe the characteristics of the Immediately after the attacks in The Sphere's Relocation after 9/11.

After the September 11 attacks, upon recovery from the rubble pile, the sculpture was dismantled and sent to storage near John F. Kennedy International Airport. Its extraction had been widely covered in local news media in the New York metropolitan area. As it was a memorable feature of the Twin Towers site, there was much discussion about using it in a memorial, especially since it seemed to have survived the attacks relatively intact.German film director Percy Adlon, who had twice previously devoted films to Koenig, made Koenigs Kugel (Koenig's Sphere) at a time when the sculpture's fate was still uncertain. In the film, the artist and the director visit Ground Zero five weeks after the attacks as the former retells the story of its creation. At first, Koenig opposed reinstalling The Sphere, considering it "a beautiful corpse".

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In the context of The Sphere, explain the Relocation to Battery Park and the Relocation after 9/11.

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Explain the Relocation to Battery Park about the Relocation after 9/11 of this artwork, The Sphere.

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the Relocation to Battery Park of the Relocation after 9/11 explained?

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Describe the characteristics of the Relocation to Battery Park in The Sphere's Relocation after 9/11.

The sculpture was eventually returned to Manhattan, and on March 11, 2002, six months to the day after the attacks, it was re-erected in Battery Park, near the Hope Garden, several blocks away from where it once stood. Koenig himself supervised the work; it took four engineers and 15 ironworkers to create a new base. Mayor Michael Bloomberg, his predecessor Rudy Giuliani and other local officials spoke at a ceremony rededicating it as a memorial to the victims. "It was a sculpture, now it's a monument", Koenig said, noting how the relatively fragile metal globe had mostly survived the cataclysm. "It now has a different beauty, one I could never imagine. It has its own life – different from the one I gave to it."A plaque alongside The Sphere read as follows:For three decades, this sculpture stood in the plaza of the World Trade Center. Entitled The Sphere, it was conceived by artist Fritz Koenig as a symbol of world peace. It was damaged during the tragic events of September 11, 2001, but endures as an icon of hope and the indestructible spirit of this country. The Sphere was placed here on March 11, 2002 as a temporary memorial to all who lost their lives in the terrorist attacks at the World Trade Center.This eternal flame was ignited on September 11, 2002, in honor of all those who were lost. Their spirit and sacrifice will never be forgotten.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In the context of The Sphere, explain the Relocation to Liberty Park and the Relocation after 9/11.

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate.When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Explain the Relocation to Liberty Park about the Relocation after 9/11 of this artwork, The Sphere.

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate.When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the Relocation to Liberty Park of the Relocation after 9/11 explained?

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate.When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Describe the characteristics of the Relocation to Liberty Park in The Sphere's Relocation after 9/11.

According to NYC Parks spokeswoman Vickie Karp, the city was looking to relocate The Sphere in summer 2012, when construction began to restore Battery Park's lawn, requiring the sculpture to be moved. The Port Authority of New York and New Jersey (PANYNJ), which owns The Sphere, considered placing the sculpture in Liberty Park, located between the 90 West Street building and the World Trade Center Memorial site. Liberty Park would not be constructed until at least 2014, so a temporary location was needed to place The Sphere. By February 2011, PANYNJ had not made an official final decision on where to place the sculpture once Battery Park construction commenced, requiring the sculpture to be moved, possibly into storage.An online petition created by 9/11 families demanding the return of The Sphere to the 9/11 Memorial gained more than 7,123 signatures as of March 23, 2011. Officials from the 9/11 Memorial stated that they did not want any 9/11 artifacts cluttering the 8-acre memorial plaza. On June 28, 2012, PANYNJ expressed support for the effort to move The Sphere to the plaza of the National September 11 Memorial & Museum. After a public comment by Michael Burke during a meeting of the Board of Commissioners, Executive Director Patrick J. Foye stated:The point that Mr. Burke made resonates with many people in New York and New Jersey and many people here at the Port Authority, especially given the fact that 84 members of the Port Authority family were killed on 9/11. This is an artifact that survived and was affected by the horrors of 9/11, and placing it on the memorial plaza, we think, is entirely appropriate.When Liberty Park opened in June 2016, the question had not been resolved. On July 22, 2016, the Port Authority voted to move the sculpture to Liberty Park, and in August 2017, PANYNJ relocated the sculpture to Liberty Park. On September 6, 2017, the Sphere was unveiled in its permanent home in Liberty Park, overlooking the World Trade Center site. The Port Authority of New York and New Jersey held a ceremony at Liberty Park on November 29, 2017, to mark its return to the World Trade Center site.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In the context of The Sphere, explain the Documentary and the Media.

In his documentary Koenigs Kugel – der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero ("Koenig's Sphere"), the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere's origin and talks about transience and the transformation of art following the attacks.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Explain the Documentary about the Media of this artwork, The Sphere.

In his documentary Koenigs Kugel – der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero ("Koenig's Sphere"), the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere's origin and talks about transience and the transformation of art following the attacks.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the Documentary of the Media explained?

In his documentary Koenigs Kugel – der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero ("Koenig's Sphere"), the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere's origin and talks about transience and the transformation of art following the attacks.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Describe the characteristics of the Documentary in The Sphere's Media.

In his documentary Koenigs Kugel – der deutsche Bildhauer Fritz Koenig im Trümmerfeld von Ground Zero ("Koenig's Sphere"), the German director Percy Adlon shows Koenig's encounter with his badly damaged work of art a few days after the September 11 attacks and its subsequent conversion to a memorial. In it, Koenig recalls The Sphere's origin and talks about transience and the transformation of art following the attacks.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In the context of The Sphere, explain the Book and the Media.

A limited edition of the book THE SPHERE – Vom Kunstwerk zum Mahnmal / THE SPHERE – From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Explain the Book about the Media of this artwork, The Sphere.

A limited edition of the book THE SPHERE – Vom Kunstwerk zum Mahnmal / THE SPHERE – From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: In The Sphere, how is the Book of the Media explained?

A limited edition of the book THE SPHERE – Vom Kunstwerk zum Mahnmal / THE SPHERE – From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Sphere

Prompt: Describe the characteristics of the Book in The Sphere's Media.

A limited edition of the book THE SPHERE – Vom Kunstwerk zum Mahnmal / THE SPHERE – From Artwork to Memorial was published in June 2021, the 50th anniversary of the sculpture's installation.

Category:Memorials for the September 11 attacks

Category:Artworks in the World Trade Center

National September 11 Memorial & Museum#Memorial

Category:Monuments and memorials in Manhattan

Artwork damaged or destroyed in the September 11 attacks

Category:Relocated buildings and structures in New York City

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Category:1971 establishments in New York City

Port Authority of New York and New Jersey#Governance


The Death of Marat

Prompt: Focus on The Death of Marat and explain the abstract.

The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Explain the abstract of this artwork, The Death of Marat.

The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: How does The Death of Marat explain its abstract?

The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: In The Death of Marat, how is the abstract discussed?

The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David depicting the artist's friend and murdered French revolutionary leader, Jean-Paul Marat. One of the most famous images from the era of the French Revolution, it was painted when David was the leading French Neoclassical painter, a Montagnard, and a member of the revolutionary Committee of General Security. Created in the months after Marat's death, the painting shows Marat lying dead in his bath after his assassination by Charlotte Corday on 13 July 1793. In 2001, art historian T. J. Clark called David's painting the first modernist work for "the way it took the stuff of politics as its material, and did not transmute it".The painting is in the collection of the Royal Museum of Fine Arts of Belgium. A replica, created by the artist's studio, is on display at the Louvre.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Focus on The Death of Marat and explain the The assassination of Marat.

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances (historical records disagree on her ostensible reason for meeting with Marat).Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Explain the The assassination of Marat of this artwork, The Death of Marat.

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances (historical records disagree on her ostensible reason for meeting with Marat).Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: How does The Death of Marat explain its The assassination of Marat?

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances (historical records disagree on her ostensible reason for meeting with Marat).Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: In The Death of Marat, how is the The assassination of Marat discussed?

Jean-Paul Marat (24 May 1743 – 13 July 1793) was one of the leaders of the Montagnards, a radical faction active during the French Revolution from the Reign of Terror to the Thermidorian Reaction. Marat was stabbed to death by Charlotte Corday, a Girondin and political enemy of Marat who blamed Marat for the September Massacre. Corday gained entrance to Marat's dwelling promising either to divulge the names of traitors of the Revolution or to plead for the lives of her Girondin acquaintances (historical records disagree on her ostensible reason for meeting with Marat).Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.When he was murdered, Marat was correcting a proof of his newspaper L'Ami du peuple. The blood-stained page is preserved.  In the painting, the note Marat is holding is not an actual quotation of Corday, but a fictional expression based on what Corday might have said.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Focus on The Death of Marat and explain the David's politics.

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Explain the David's politics of this artwork, The Death of Marat.

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: How does The Death of Marat explain its David's politics?

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: In The Death of Marat, how is the David's politics discussed?

The leading French painter of his generation, David was a prominent Montagnard and a Jacobin, aligned with Marat and Maximilian Robespierre.  As a deputy of the museum section at the National Convention, David voted for the death of French king Louis XVI and served on the Committee of General Security, where he actively participated in sentencings and imprisonment, eventually presiding over the "section des interrogatoires". David was also on the Committee of Public Instruction.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Focus on The Death of Marat and explain the Style.

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Explain the Style of this artwork, The Death of Marat.

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: How does The Death of Marat explain its Style?

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: In The Death of Marat, how is the Style discussed?

The Death of Marat has often been compared to Michelangelo's Pietà, a major similarity being the elongated arm hanging down in both works. David admired Caravaggio's works, especially Entombment of Christ, which mirrors The Death of Marat's drama and light.David sought to transfer the sacred qualities long associated with the monarchy and the Catholic Church to the new French Republic. He painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Focus on The Death of Marat and explain the Later history.

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets (Alessandro Mozzambani) and writers (Peter Weiss' play Marat/Sade).  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Explain the Later history of this artwork, The Death of Marat.

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets (Alessandro Mozzambani) and writers (Peter Weiss' play Marat/Sade).  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: How does The Death of Marat explain its Later history?

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets (Alessandro Mozzambani) and writers (Peter Weiss' play Marat/Sade).  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: In The Death of Marat, how is the Later history discussed?

Several copies of the painting were made by David's pupils in 1793–1794, when the image was a popular symbol of martyrdom amid the Reign of Terror.   From 1795 to David's death, the painting languished in obscurity.  During David's exile in Belgium, it was hidden, somewhere in France, by Antoine Gros, David's most famous pupil. There was renewed interest in the painting after Pierre-Joseph Proudhon and Charles Baudelaire praised the work after seeing it at the Bazar Bonne-Nouvelle in 1845. Nineteenth-century paintings inspired by David's work include Paul Jacques Aimé Baudry's Charlotte Corday. In the 20th century, David's painting inspired artists such as Pablo Picasso and Edvard Munch, poets (Alessandro Mozzambani) and writers (Peter Weiss' play Marat/Sade).  Brazilian artist Vik Muniz created a version composed of contents from a city landfill as part of his "Pictures of Garbage" series.The letter that appears in the painting, with blood-stains and bath water marks still visible, has survived and was owned by Robert Lindsay, 29th Earl of Crawford.

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Focus on The Death of Marat and explain the In popular culture.

In 1897, the French director Georges Hatot made a movie entitled La Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon.The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting.Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait.Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel (but writing here with a typewriter), slouches back in his tub, one arm extended outside the tub.Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste Land. The picture is prominently featured on the DVD cover.Steve Goodman re-created the painting (with himself in place of Marat) for the cover of his 1977 album Say It in Private.The painting is recreated in The Red Violin (1998), in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand.In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter, recreating David's painting.The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness.The painting was used as the album art for American band The New Regime’s 2008 album  Coup.In the 23 October 2008, episode of CSI: Crime Scene Investigation (Season 9, Episode 3 - "Art Imitates Life") a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting.In 2013, it was gender-swapped with Lady Gaga in Marat's spot for ARTPOP. MTVThe painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa MoshfeghThe painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive".The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat.Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix (band). YouTube

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: Explain the In popular culture of this artwork, The Death of Marat.

In 1897, the French director Georges Hatot made a movie entitled La Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon.The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting.Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait.Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel (but writing here with a typewriter), slouches back in his tub, one arm extended outside the tub.Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste Land. The picture is prominently featured on the DVD cover.Steve Goodman re-created the painting (with himself in place of Marat) for the cover of his 1977 album Say It in Private.The painting is recreated in The Red Violin (1998), in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand.In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter, recreating David's painting.The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness.The painting was used as the album art for American band The New Regime’s 2008 album  Coup.In the 23 October 2008, episode of CSI: Crime Scene Investigation (Season 9, Episode 3 - "Art Imitates Life") a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting.In 2013, it was gender-swapped with Lady Gaga in Marat's spot for ARTPOP. MTVThe painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa MoshfeghThe painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive".The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat.Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix (band). YouTube

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: How does The Death of Marat explain its In popular culture?

In 1897, the French director Georges Hatot made a movie entitled La Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon.The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting.Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait.Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel (but writing here with a typewriter), slouches back in his tub, one arm extended outside the tub.Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste Land. The picture is prominently featured on the DVD cover.Steve Goodman re-created the painting (with himself in place of Marat) for the cover of his 1977 album Say It in Private.The painting is recreated in The Red Violin (1998), in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand.In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter, recreating David's painting.The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness.The painting was used as the album art for American band The New Regime’s 2008 album  Coup.In the 23 October 2008, episode of CSI: Crime Scene Investigation (Season 9, Episode 3 - "Art Imitates Life") a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting.In 2013, it was gender-swapped with Lady Gaga in Marat's spot for ARTPOP. MTVThe painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa MoshfeghThe painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive".The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat.Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix (band). YouTube

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


The Death of Marat

Prompt: In The Death of Marat, how is the In popular culture discussed?

In 1897, the French director Georges Hatot made a movie entitled La Mort de Marat. This early silent film made for the Lumière Company is a brief single-shot scene of the assassination of the revolutionary.The composition influenced one of the scenes in Stanley Kubrick's 1975 adaptation of Barry Lyndon.The cover art of the 1980 album East by Australian pub rock band Cold Chisel, was inspired by the painting.Andrzej Wajda's 1983 film Danton includes several scenes in David's atelier, including one showing the painting of Marat's portrait.Derek Jarman's 1986 film Caravaggio imitates the painting in a scene where the chronicler, head bound in a towel (but writing here with a typewriter), slouches back in his tub, one arm extended outside the tub.Vik Muniz recreated the Death of Marat with waste from a massive landfill near Rio de Janeiro in his 2010 documentary Waste Land. The picture is prominently featured on the DVD cover.Steve Goodman re-created the painting (with himself in place of Marat) for the cover of his 1977 album Say It in Private.The painting is recreated in The Red Violin (1998), in the scene when Jason Flemyng, playing violinist Frederick Pope, leans back in a bathtub with a letter from his lover in his hand.In the 2002 movie, About Schmidt, Jack Nicholson's character Warren falls asleep in the bath whilst composing a letter, recreating David's painting.The painting was used as the album art for American band Have a Nice Life's 2008 album Deathconsciousness.The painting was used as the album art for American band The New Regime’s 2008 album  Coup.In the 23 October 2008, episode of CSI: Crime Scene Investigation (Season 9, Episode 3 - "Art Imitates Life") a serial killer poses his victims peculiarly, one such victim's posture being an homage to David's painting.In 2013, it was gender-swapped with Lady Gaga in Marat's spot for ARTPOP. MTVThe painting was mentioned as a favorite of the narrator in the novel My Year of Rest and Relaxation by Ottessa MoshfeghThe painting is referenced by US alternative rock band R.E.M. in the lyrics of their song "We Walk" and in the video to their song "Drive".The cover art to singer-songwriter Andrew Bird's 2019 album My Finest Work Yet features a recreation of the painting with Bird in place of Marat.Death of Marat is one of many paintings animated in the video for the song Alpha Zulu by the french alternative rock band Phoenix (band). YouTube

Category:Paintings in the Musée Oldmasters

One of two versions of ''Death of Marat'' made by [[Edvard Munch

File:Death of Marat by David (detail).jpg

Category:Paintings by Jacques-Louis David

Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance}}" which translates to "''It is enough that I am very unhappy to be entitled to your benevolence''"

''Charlotte Corday'' by [[Paul Jacques Aimé Baudry

List of paintings by Jacques-Louis David

Category:1793 events of the French Revolution

Category:Cultural depictions of Jean-Paul Marat

A copy of ''L’Ami du peuple'' stained with the blood of Marat

Detail of ''The Death of Marat'' showing the paper held in Marat's left hand. The letter reads "{{lang


Wanderer above the Sea of Fog

Prompt: Focus on Wanderer above the Sea of Fog and explain the abstract.

Wanderer above the Sea of Fog is a painting by German Romanticist artist Caspar David Friedrich made in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.It has been considered one of the masterpieces of the Romantic movement and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the sublime. Friedrich was a common user of Rückenfigur (German: Rear-facing figure) in his paintings; Wanderer above the Sea of Fog is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of Friedrich's German liberal and nationalist feeling.While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s; Wanderer became particularly popular, appearing as an example of "popular art" as well as high culture on books and other works. The provenance of the artwork after its creation is unknown, but by 1939, it was on display in the gallery of Wilhelm August Luz in Berlin, and in 1970, it was acquired by the Hamburger Kunsthalle in Hamburg, Germany, where it has been displayed ever since.

Category:Paintings by Caspar David Friedrich

Category:Paintings in the Hamburger Kunsthalle


Wanderer above the Sea of Fog

Prompt: Explain the abstract of this artwork, Wanderer above the Sea of Fog.

Wanderer above the Sea of Fog is a painting by German Romanticist artist Caspar David Friedrich made in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.It has been considered one of the masterpieces of the Romantic movement and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the sublime. Friedrich was a common user of Rückenfigur (German: Rear-facing figure) in his paintings; Wanderer above the Sea of Fog is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of Friedrich's German liberal and nationalist feeling.While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s; Wanderer became particularly popular, appearing as an example of "popular art" as well as high culture on books and other works. The provenance of the artwork after its creation is unknown, but by 1939, it was on display in the gallery of Wilhelm August Luz in Berlin, and in 1970, it was acquired by the Hamburger Kunsthalle in Hamburg, Germany, where it has been displayed ever since.

Category:Paintings by Caspar David Friedrich

Category:Paintings in the Hamburger Kunsthalle


Wanderer above the Sea of Fog

Prompt: How does Wanderer above the Sea of Fog explain its abstract?

Wanderer above the Sea of Fog is a painting by German Romanticist artist Caspar David Friedrich made in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.It has been considered one of the masterpieces of the Romantic movement and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the sublime. Friedrich was a common user of Rückenfigur (German: Rear-facing figure) in his paintings; Wanderer above the Sea of Fog is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of Friedrich's German liberal and nationalist feeling.While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s; Wanderer became particularly popular, appearing as an example of "popular art" as well as high culture on books and other works. The provenance of the artwork after its creation is unknown, but by 1939, it was on display in the gallery of Wilhelm August Luz in Berlin, and in 1970, it was acquired by the Hamburger Kunsthalle in Hamburg, Germany, where it has been displayed ever since.

Category:Paintings by Caspar David Friedrich

Category:Paintings in the Hamburger Kunsthalle


Wanderer above the Sea of Fog

Prompt: In Wanderer above the Sea of Fog, how is the abstract discussed?

Wanderer above the Sea of Fog is a painting by German Romanticist artist Caspar David Friedrich made in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.It has been considered one of the masterpieces of the Romantic movement and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the sublime. Friedrich was a common user of Rückenfigur (German: Rear-facing figure) in his paintings; Wanderer above the Sea of Fog is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of Friedrich's German liberal and nationalist feeling.While Friedrich was respected in German and Russian circles, Wanderer above the Sea of Fog and Friedrich's work in general were not immediately regarded as masterpieces. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s; Wanderer became particularly popular, appearing as an example of "popular art" as well as high culture on books and other works. The provenance of the artwork after its creation is unknown, but by 1939, it was on display in the gallery of Wilhelm August Luz in Berlin, and in 1970, it was acquired by the Hamburger Kunsthalle in Hamburg, Germany, where it has been displayed ever since.

Category:Paintings by Caspar David Friedrich

Category:Paintings in the Hamburger Kunsthalle


Wanderer above the Sea of Fog

Prompt: Focus on Wanderer above the Sea of Fog and explain the Description.

In the foreground, a man stands upon a rocky precipice with his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. His hair caught in a wind, the wanderer gazes out on a landscape covered in a thick sea of fog. In the middle ground, several other ridges, perhaps not unlike the ones the wanderer himself stands upon, jut out from the mass. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the right. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.The painting is composed of various elements from the Elbe Sandstone Mountains in Saxony and Bohemia, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the Zirkelstein. The mountain in the background to the left could be either the Rosenberg or the Kaltenberg. The group of rocks in front of it represent the Gamrig near Rathen. The rocks on which the traveller stands are a group on the Kaiserkrone.

Category:Paintings by Caspar David Friedrich

Category:Paintings in the Hamburger Kunsthalle


Wanderer above the Sea of Fog

Prompt: Explain the Description of this artwork, Wanderer above the Sea of Fog.

In the foreground, a man stands upon a rocky precipice with his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. His hair caught in a wind, the wanderer gazes out on a landscape covered in a thick sea of fog. In the middle ground, several other ridges, perhaps not unlike the ones the wanderer himself stands upon, jut out from the mass. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the right. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.The painting is composed of various elements from the Elbe Sandstone Mountains in Saxony and Bohemia, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the Zirkelstein. The mountain in the background to the left could be either the Rosenberg or the Kaltenberg. The group of rocks in front of it represent the Gamrig near Rathen. The rocks on which the traveller stands are a group on the Kaiserkrone.

Category:Paintings by Caspar David Friedrich

Category:Paintings in the Hamburger Kunsthalle


Wanderer above the Sea of Fog

Prompt: How does Wanderer above the Sea of Fog explain its Description?

In the foreground, a man stands upon a rocky precipice with his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. His hair caught in a wind, the wanderer gazes out on a landscape covered in a thick sea of fog. In the middle ground, several other ridges, perhaps not unlike the ones the wanderer himself stands upon, jut out from the mass. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the right. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.The painting is composed of various elements from the Elbe Sandstone Mountains in Saxony and Bohemia, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the Zirkelstein. The mountain in the background to the left could be either the Rosenberg or the Kaltenberg. The group of rocks in front of it represent the Gamrig near Rathen. The rocks on which the traveller stands are a group on the Kaiserkrone.

Category:Paintings by Caspar David Friedrich

Category:Paintings in the Hamburger Kunsthalle


Wanderer above the Sea of Fog

Prompt: In Wanderer above the Sea of Fog, how is the Description discussed?

In the foreground, a man stands upon a rocky precipice with his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. His hair caught in a wind, the wanderer gazes out on a landscape covered in a thick sea of fog. In the middle ground, several other ridges, perhaps not unlike the ones the wanderer himself stands upon, jut out from the mass. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the right. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.The painting is composed of various elements from the Elbe Sandstone Mountains in Saxony and Bohemia, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the Zirkelstein. The mountain in the background to the left could be either the Rosenberg or the Kaltenberg. The group of rocks in front of it represent the Gamrig near Rathen. The rocks on which the traveller stands are a group on the Kaiserkrone.

Category:Paintings by Caspar David Friedrich

Category:Paintings in the Hamburger Kunsthalle


Wanderer above the Sea of Fog

Prompt: Focus on Wanderer above the Sea of Fog and explain the Creation and history.

The date of creation of Wanderer is generally given as 1818, although some sources indicate 1817. The provenance of the painting in the 19th century is unclear, but it came to the ownership of the gallery of Wilhelm August Luz in Berlin in 1939. It was then apparently sold to Ernst Henke, a German lawyer, before returning to the Luz gallery. The painting bounced between private collections before being acquired by the Hamburger Kunsthalle (Hamburg Art Hall) in 1970, where it has been on display since.Notable events in Friedrich's life in 1817 and 1818 include him striking up a friendship with the scientist Carl Gustav Carus and the Norwegian painter Johan Christian Dahl in 1817, Friedrich marrying Caroline Brommer in January 1818, and the couple going on a honeymoon back to Friedrich's hometown of Greifswald for weeks after.

Category:Paintings by Caspar David Friedrich

Category:Paintings in the Hamburger Kunsthalle