The Bathers (Gleizes)

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

Salon des Indépendants, Paris, 1912, no. 1347.Salon de la Section d'Or, Galerie La Boétie in Paris, October 1912, no. 40.Exposition de Cubistes Français, Musée Rath, Geneva, 3–15 June 1913, no. 8Moderni Umeni, S.V.U. Mánes, Prague, 1914, no. 36.La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, ParisSalon des Indépendants, Trente Ans d'Art Indépendants, 1884–1914, Grand Palais, Paris, 1926, no. 1057.Les créateurs du cubisme: Galerie Wildenstein, Paris, 1935, no. 31.Les Maitres de I'Art Indépendants 1895-1937, Petit Palais, Paris, 1937, no. 6.Albert Gleizes 1881 – 1953, A Retrospective Exhibition, The Solomon R. Guggenheim Foundation, New York, Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964-1965 (no. 31).Le cubisme, 17 October 2018 – 25 February 2019, Galerie 1, Centre Pompidou, Musée National d'Art Moderne, Paris. Kunstmuseum Basel, 31 March – 5 August 2019

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

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

A Sunday Afternoon on the Island of La Grande Jatte

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

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

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

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

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

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

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

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

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

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

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

Albert Gleizes, 1912, ''Les Baigneuses''

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

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


The Bathers (Gleizes)

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

Salon des Indépendants, Paris, 1912, no. 1347.Salon de la Section d'Or, Galerie La Boétie in Paris, October 1912, no. 40.Exposition de Cubistes Français, Musée Rath, Geneva, 3–15 June 1913, no. 8Moderni Umeni, S.V.U. Mánes, Prague, 1914, no. 36.La Section d'Or exhibition, 1925, Galerie Vavin-Raspail, ParisSalon des Indépendants, Trente Ans d'Art Indépendants, 1884–1914, Grand Palais, Paris, 1926, no. 1057.Les créateurs du cubisme: Galerie Wildenstein, Paris, 1935, no. 31.Les Maitres de I'Art Indépendants 1895-1937, Petit Palais, Paris, 1937, no. 6.Albert Gleizes 1881 – 1953, A Retrospective Exhibition, The Solomon R. Guggenheim Foundation, New York, Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964-1965 (no. 31).Le cubisme, 17 October 2018 – 25 February 2019, Galerie 1, Centre Pompidou, Musée National d'Art Moderne, Paris. Kunstmuseum Basel, 31 March – 5 August 2019

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

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

A Sunday Afternoon on the Island of La Grande Jatte

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

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

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

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

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

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

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

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

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

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

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

Albert Gleizes, 1912, ''Les Baigneuses''

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

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


The Bathers (Gleizes)

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

Albert Gleizes and Jean Metzinger, Du "Cubisme", published by Eugène Figuière, Paris, 1912, translated to English and Russian in 1913Apollinaire, g. Le Petit Bleu, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).Bonfante, E. and Ravenna, J. Arte Cubista con "les Meditations Esthetiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.Musee d'Art Moderne de la Ville de Paris, Catalogue-Guide, Paris, 1961.Robbins, Daniel, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964 (catalogue no. 31).Varichon, Anne, Daniel Robbins, Albert Gleizes – Catalogue Raisonné, Volume 1, Paris, Somogy éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6.

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

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

A Sunday Afternoon on the Island of La Grande Jatte

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

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

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

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

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

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

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

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

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

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

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

Albert Gleizes, 1912, ''Les Baigneuses''

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

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


The Bathers (Gleizes)

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

Albert Gleizes and Jean Metzinger, Du "Cubisme", published by Eugène Figuière, Paris, 1912, translated to English and Russian in 1913Apollinaire, g. Le Petit Bleu, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).Bonfante, E. and Ravenna, J. Arte Cubista con "les Meditations Esthetiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.Musee d'Art Moderne de la Ville de Paris, Catalogue-Guide, Paris, 1961.Robbins, Daniel, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964 (catalogue no. 31).Varichon, Anne, Daniel Robbins, Albert Gleizes – Catalogue Raisonné, Volume 1, Paris, Somogy éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6.

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

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

A Sunday Afternoon on the Island of La Grande Jatte

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

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

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

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

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

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

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

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

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

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

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

Albert Gleizes, 1912, ''Les Baigneuses''

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

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


The Bathers (Gleizes)

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

Albert Gleizes and Jean Metzinger, Du "Cubisme", published by Eugène Figuière, Paris, 1912, translated to English and Russian in 1913Apollinaire, g. Le Petit Bleu, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).Bonfante, E. and Ravenna, J. Arte Cubista con "les Meditations Esthetiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.Musee d'Art Moderne de la Ville de Paris, Catalogue-Guide, Paris, 1961.Robbins, Daniel, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964 (catalogue no. 31).Varichon, Anne, Daniel Robbins, Albert Gleizes – Catalogue Raisonné, Volume 1, Paris, Somogy éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6.

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

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

A Sunday Afternoon on the Island of La Grande Jatte

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

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

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

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

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

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

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

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

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

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

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

Albert Gleizes, 1912, ''Les Baigneuses''

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

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


The Bathers (Gleizes)

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

Albert Gleizes and Jean Metzinger, Du "Cubisme", published by Eugène Figuière, Paris, 1912, translated to English and Russian in 1913Apollinaire, g. Le Petit Bleu, March 20, 1912 (cf. Chroniques d'Art, 1960, p. 230).Bonfante, E. and Ravenna, J. Arte Cubista con "les Meditations Esthetiques sur la Peinture" di Guillaume Apollinaire, Venice, 1945, no. LVIII.Musee d'Art Moderne de la Ville de Paris, Catalogue-Guide, Paris, 1961.Robbins, Daniel, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964 (catalogue no. 31).Varichon, Anne, Daniel Robbins, Albert Gleizes – Catalogue Raisonné, Volume 1, Paris, Somogy éditions d'art/Fondation Albert Gleizes, 1998, ISBN 2-85056-286-6.

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

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

A Sunday Afternoon on the Island of La Grande Jatte

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

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

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

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

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

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

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

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

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

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

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

Albert Gleizes, 1912, ''Les Baigneuses''

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

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


Spring Ice

Prompt: Focus on Spring Ice and explain the abstract.

Spring Ice is a 1915–16 oil painting by Canadian painter Tom Thomson. The work was inspired by a sketch completed on Canoe Lake in Algonquin Park. The completed canvas is large, measuring 72.0 cm × 102.3 cm (28.3 in × 40.3 in). Painted over the winter of 1915–16, it was completed in Thomson's shack behind the Studio Building in Toronto. The painting was produced as he was in the peak of his short art career and is considered one of his most notable works. While exhibited in a show put on by the Ontario Society of Artists, the work received mixed to positive reviews. In 1916 it was purchased by the National Gallery of Canada in Ottawa and has remained in the collection ever since.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Explain the abstract of this artwork, Spring Ice.

Spring Ice is a 1915–16 oil painting by Canadian painter Tom Thomson. The work was inspired by a sketch completed on Canoe Lake in Algonquin Park. The completed canvas is large, measuring 72.0 cm × 102.3 cm (28.3 in × 40.3 in). Painted over the winter of 1915–16, it was completed in Thomson's shack behind the Studio Building in Toronto. The painting was produced as he was in the peak of his short art career and is considered one of his most notable works. While exhibited in a show put on by the Ontario Society of Artists, the work received mixed to positive reviews. In 1916 it was purchased by the National Gallery of Canada in Ottawa and has remained in the collection ever since.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: How does Spring Ice explain its abstract?

Spring Ice is a 1915–16 oil painting by Canadian painter Tom Thomson. The work was inspired by a sketch completed on Canoe Lake in Algonquin Park. The completed canvas is large, measuring 72.0 cm × 102.3 cm (28.3 in × 40.3 in). Painted over the winter of 1915–16, it was completed in Thomson's shack behind the Studio Building in Toronto. The painting was produced as he was in the peak of his short art career and is considered one of his most notable works. While exhibited in a show put on by the Ontario Society of Artists, the work received mixed to positive reviews. In 1916 it was purchased by the National Gallery of Canada in Ottawa and has remained in the collection ever since.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: In Spring Ice, how is the abstract discussed?

Spring Ice is a 1915–16 oil painting by Canadian painter Tom Thomson. The work was inspired by a sketch completed on Canoe Lake in Algonquin Park. The completed canvas is large, measuring 72.0 cm × 102.3 cm (28.3 in × 40.3 in). Painted over the winter of 1915–16, it was completed in Thomson's shack behind the Studio Building in Toronto. The painting was produced as he was in the peak of his short art career and is considered one of his most notable works. While exhibited in a show put on by the Ontario Society of Artists, the work received mixed to positive reviews. In 1916 it was purchased by the National Gallery of Canada in Ottawa and has remained in the collection ever since.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: In the context of Spring Ice, explain the 1915 sketching season and the Background.

In the spring of 1915, Thomson returned to Algonquin Park earlier than he had in any previous year. In a letter to James MacCallum, he reported that he had already painted twenty-eight sketches by 22 April. He became fascinated with the "opening of the waters" as the ice on the lakes began to melt, reporting in his letter to MacCallum that the ice would "break up [on] the first good wind, so I will soon be camping again." This ice is apparent in the sketch River, which was likely painted early in the season and preceding Spring Ice. The close of the day is indicated by the turquoise, yellow and lavender sky.The year overall was particularly productive for Thomson, himself reporting that he had painted 128 sketches by September. He began to more consistently use hard wood-pulp board for sketching, something he picked up from J. E. H. MacDonald. From April through July, he spent much of his time fishing, assisting groups on several different lakes. He spent much of his summer travelling across the province, hunting and sketching. From the end of September to mid-October, Thomson spent his time at Mowat, a village on the north end of Canoe Lake. By November he was at Round Lake with Tom Wattie and Dr. Robert McComb. In late November Thomson returned to Toronto and moved into a shack behind the Studio Building that Harris and MacCallum fixed up for him, renting it for $1 a month (equivalent to CAD$26 in 2023).

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Explain the 1915 sketching season about the Background of this artwork, Spring Ice.

In the spring of 1915, Thomson returned to Algonquin Park earlier than he had in any previous year. In a letter to James MacCallum, he reported that he had already painted twenty-eight sketches by 22 April. He became fascinated with the "opening of the waters" as the ice on the lakes began to melt, reporting in his letter to MacCallum that the ice would "break up [on] the first good wind, so I will soon be camping again." This ice is apparent in the sketch River, which was likely painted early in the season and preceding Spring Ice. The close of the day is indicated by the turquoise, yellow and lavender sky.The year overall was particularly productive for Thomson, himself reporting that he had painted 128 sketches by September. He began to more consistently use hard wood-pulp board for sketching, something he picked up from J. E. H. MacDonald. From April through July, he spent much of his time fishing, assisting groups on several different lakes. He spent much of his summer travelling across the province, hunting and sketching. From the end of September to mid-October, Thomson spent his time at Mowat, a village on the north end of Canoe Lake. By November he was at Round Lake with Tom Wattie and Dr. Robert McComb. In late November Thomson returned to Toronto and moved into a shack behind the Studio Building that Harris and MacCallum fixed up for him, renting it for $1 a month (equivalent to CAD$26 in 2023).

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: In Spring Ice, how is the 1915 sketching season of the Background explained?

In the spring of 1915, Thomson returned to Algonquin Park earlier than he had in any previous year. In a letter to James MacCallum, he reported that he had already painted twenty-eight sketches by 22 April. He became fascinated with the "opening of the waters" as the ice on the lakes began to melt, reporting in his letter to MacCallum that the ice would "break up [on] the first good wind, so I will soon be camping again." This ice is apparent in the sketch River, which was likely painted early in the season and preceding Spring Ice. The close of the day is indicated by the turquoise, yellow and lavender sky.The year overall was particularly productive for Thomson, himself reporting that he had painted 128 sketches by September. He began to more consistently use hard wood-pulp board for sketching, something he picked up from J. E. H. MacDonald. From April through July, he spent much of his time fishing, assisting groups on several different lakes. He spent much of his summer travelling across the province, hunting and sketching. From the end of September to mid-October, Thomson spent his time at Mowat, a village on the north end of Canoe Lake. By November he was at Round Lake with Tom Wattie and Dr. Robert McComb. In late November Thomson returned to Toronto and moved into a shack behind the Studio Building that Harris and MacCallum fixed up for him, renting it for $1 a month (equivalent to CAD$26 in 2023).

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Describe the characteristics of the 1915 sketching season in Spring Ice's Background.

In the spring of 1915, Thomson returned to Algonquin Park earlier than he had in any previous year. In a letter to James MacCallum, he reported that he had already painted twenty-eight sketches by 22 April. He became fascinated with the "opening of the waters" as the ice on the lakes began to melt, reporting in his letter to MacCallum that the ice would "break up [on] the first good wind, so I will soon be camping again." This ice is apparent in the sketch River, which was likely painted early in the season and preceding Spring Ice. The close of the day is indicated by the turquoise, yellow and lavender sky.The year overall was particularly productive for Thomson, himself reporting that he had painted 128 sketches by September. He began to more consistently use hard wood-pulp board for sketching, something he picked up from J. E. H. MacDonald. From April through July, he spent much of his time fishing, assisting groups on several different lakes. He spent much of his summer travelling across the province, hunting and sketching. From the end of September to mid-October, Thomson spent his time at Mowat, a village on the north end of Canoe Lake. By November he was at Round Lake with Tom Wattie and Dr. Robert McComb. In late November Thomson returned to Toronto and moved into a shack behind the Studio Building that Harris and MacCallum fixed up for him, renting it for $1 a month (equivalent to CAD$26 in 2023).

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Focus on Spring Ice and explain the Description.

Spring Ice is among the dozen or so paintings expanded from a small sketch into a larger canvas work. The smaller sketches were done en plein air—in this case likely painted a little north of Hayhurst's Point on Canoe Lake—through the spring, summer and fall. The larger canvases were instead completed over the winter in Thomson's studio—an old utility shack with a wood-burning stove on the grounds of the Studio Building, an artist's enclave in Rosedale, Toronto.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Explain the Description of this artwork, Spring Ice.

Spring Ice is among the dozen or so paintings expanded from a small sketch into a larger canvas work. The smaller sketches were done en plein air—in this case likely painted a little north of Hayhurst's Point on Canoe Lake—through the spring, summer and fall. The larger canvases were instead completed over the winter in Thomson's studio—an old utility shack with a wood-burning stove on the grounds of the Studio Building, an artist's enclave in Rosedale, Toronto.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: How does Spring Ice explain its Description?

Spring Ice is among the dozen or so paintings expanded from a small sketch into a larger canvas work. The smaller sketches were done en plein air—in this case likely painted a little north of Hayhurst's Point on Canoe Lake—through the spring, summer and fall. The larger canvases were instead completed over the winter in Thomson's studio—an old utility shack with a wood-burning stove on the grounds of the Studio Building, an artist's enclave in Rosedale, Toronto.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: In Spring Ice, how is the Description discussed?

Spring Ice is among the dozen or so paintings expanded from a small sketch into a larger canvas work. The smaller sketches were done en plein air—in this case likely painted a little north of Hayhurst's Point on Canoe Lake—through the spring, summer and fall. The larger canvases were instead completed over the winter in Thomson's studio—an old utility shack with a wood-burning stove on the grounds of the Studio Building, an artist's enclave in Rosedale, Toronto.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: In the context of Spring Ice, explain the Sketch (spring 1915) and the Description.

Curator Charles Hill has written that the Sketch for Spring Ice was almost certainly done with A. Y. Jackson's 1914 canvas A Frozen Lake in mind. Thomson likely saw the painting in November 1914 before Jackson took it away in December to be exhibited. The composition recalls Thomson's earlier work from his design career, using a group of trees in the foreground to establish a lake and low-lying hills in the background. By 1914 Thomson was displaying an increasing interest in the motifs of both ice breaking up on a river as well as rock in the lower foreground. In these earlier examples, the foreground tends to cut a diagonal across the painting while the trees subtly obscure the far shore. A. Y. Jackson experimented with this idea in his own 1914 painting, Lake Shore, Canoe Lake. In the Sketch for Spring Ice, a gentler rise to the left instead establishes the foreground with only a few brushstrokes used to paint the brown ground. Charles Hill has further written that, "the relationship of foreground, middle and distance is more fluid than in Northern River, opening the view of the water and far shore."

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Explain the Sketch (spring 1915) about the Description of this artwork, Spring Ice.

Curator Charles Hill has written that the Sketch for Spring Ice was almost certainly done with A. Y. Jackson's 1914 canvas A Frozen Lake in mind. Thomson likely saw the painting in November 1914 before Jackson took it away in December to be exhibited. The composition recalls Thomson's earlier work from his design career, using a group of trees in the foreground to establish a lake and low-lying hills in the background. By 1914 Thomson was displaying an increasing interest in the motifs of both ice breaking up on a river as well as rock in the lower foreground. In these earlier examples, the foreground tends to cut a diagonal across the painting while the trees subtly obscure the far shore. A. Y. Jackson experimented with this idea in his own 1914 painting, Lake Shore, Canoe Lake. In the Sketch for Spring Ice, a gentler rise to the left instead establishes the foreground with only a few brushstrokes used to paint the brown ground. Charles Hill has further written that, "the relationship of foreground, middle and distance is more fluid than in Northern River, opening the view of the water and far shore."

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: In Spring Ice, how is the Sketch (spring 1915) of the Description explained?

Curator Charles Hill has written that the Sketch for Spring Ice was almost certainly done with A. Y. Jackson's 1914 canvas A Frozen Lake in mind. Thomson likely saw the painting in November 1914 before Jackson took it away in December to be exhibited. The composition recalls Thomson's earlier work from his design career, using a group of trees in the foreground to establish a lake and low-lying hills in the background. By 1914 Thomson was displaying an increasing interest in the motifs of both ice breaking up on a river as well as rock in the lower foreground. In these earlier examples, the foreground tends to cut a diagonal across the painting while the trees subtly obscure the far shore. A. Y. Jackson experimented with this idea in his own 1914 painting, Lake Shore, Canoe Lake. In the Sketch for Spring Ice, a gentler rise to the left instead establishes the foreground with only a few brushstrokes used to paint the brown ground. Charles Hill has further written that, "the relationship of foreground, middle and distance is more fluid than in Northern River, opening the view of the water and far shore."

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Describe the characteristics of the Sketch (spring 1915) in Spring Ice's Description.

Curator Charles Hill has written that the Sketch for Spring Ice was almost certainly done with A. Y. Jackson's 1914 canvas A Frozen Lake in mind. Thomson likely saw the painting in November 1914 before Jackson took it away in December to be exhibited. The composition recalls Thomson's earlier work from his design career, using a group of trees in the foreground to establish a lake and low-lying hills in the background. By 1914 Thomson was displaying an increasing interest in the motifs of both ice breaking up on a river as well as rock in the lower foreground. In these earlier examples, the foreground tends to cut a diagonal across the painting while the trees subtly obscure the far shore. A. Y. Jackson experimented with this idea in his own 1914 painting, Lake Shore, Canoe Lake. In the Sketch for Spring Ice, a gentler rise to the left instead establishes the foreground with only a few brushstrokes used to paint the brown ground. Charles Hill has further written that, "the relationship of foreground, middle and distance is more fluid than in Northern River, opening the view of the water and far shore."

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: In the context of Spring Ice, explain the Canvas (winter 1915–16) and the Description.

The final canvas for Spring Ice shares similarities to In the Northland, another work produced over the same winter. A key difference is that Spring Ice emphasizes the horizontal, seen with both the foreground, lake and hills existing in bands stacked on top of one another, and further emphasized by the open space and the trees being placed on the far left and right of the foreground.While the sketch utilizes "muddy, warm tones," the canvas instead uses brighter, more highly keyed colours. The brighter greens, pinks, yellows, blues and whites are not too striking, with a pale blue lightly put on top of the final work to lower the overall contrast. The different regions of colour are readily apparent within the foreground. In the background, terra cotta is painted over with blue.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Explain the Canvas (winter 1915–16) about the Description of this artwork, Spring Ice.

The final canvas for Spring Ice shares similarities to In the Northland, another work produced over the same winter. A key difference is that Spring Ice emphasizes the horizontal, seen with both the foreground, lake and hills existing in bands stacked on top of one another, and further emphasized by the open space and the trees being placed on the far left and right of the foreground.While the sketch utilizes "muddy, warm tones," the canvas instead uses brighter, more highly keyed colours. The brighter greens, pinks, yellows, blues and whites are not too striking, with a pale blue lightly put on top of the final work to lower the overall contrast. The different regions of colour are readily apparent within the foreground. In the background, terra cotta is painted over with blue.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: In Spring Ice, how is the Canvas (winter 1915–16) of the Description explained?

The final canvas for Spring Ice shares similarities to In the Northland, another work produced over the same winter. A key difference is that Spring Ice emphasizes the horizontal, seen with both the foreground, lake and hills existing in bands stacked on top of one another, and further emphasized by the open space and the trees being placed on the far left and right of the foreground.While the sketch utilizes "muddy, warm tones," the canvas instead uses brighter, more highly keyed colours. The brighter greens, pinks, yellows, blues and whites are not too striking, with a pale blue lightly put on top of the final work to lower the overall contrast. The different regions of colour are readily apparent within the foreground. In the background, terra cotta is painted over with blue.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Describe the characteristics of the Canvas (winter 1915–16) in Spring Ice's Description.

The final canvas for Spring Ice shares similarities to In the Northland, another work produced over the same winter. A key difference is that Spring Ice emphasizes the horizontal, seen with both the foreground, lake and hills existing in bands stacked on top of one another, and further emphasized by the open space and the trees being placed on the far left and right of the foreground.While the sketch utilizes "muddy, warm tones," the canvas instead uses brighter, more highly keyed colours. The brighter greens, pinks, yellows, blues and whites are not too striking, with a pale blue lightly put on top of the final work to lower the overall contrast. The different regions of colour are readily apparent within the foreground. In the background, terra cotta is painted over with blue.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Focus on Spring Ice and explain the Provenance and exhibition.

In March and April 1916 Thomson exhibited Spring Ice and three canvases with the Ontario Society of Artists (OSA). The other paintings were In the Northland (at that time, titled The Birches), Moonlight and October (then titled The Hardwoods), all of which were painted over the winter of 1915–16. Sir Edmund Walker and Eric Brown of the National Gallery of Canada wanted to purchase In the Northland, but Montreal trustee Dr. Francis Shepherd convinced them to instead purchase Spring Ice. They bought it for $300 (equivalent to CAD$7,000 in 2023).Reception to Thomson's paintings at this time were mixed. Margaret Fairbairn of the Toronto Daily Star wrote, "Mr. Tom Thomson's 'The Birches' and 'The Hardwoods' show a fondness for intense yellows and orange and strong blue, altogether a fearless use of violent colour which can scarcely be called pleasing, and yet which seems an exaggeration of a truthful feeling that time will temper." A more favourable take came from artist Wyly Grier in The Christian Science Monitor: Tom Thomson again reveals his capacity to be modern and remain individual. His early pictures—in which the quality of naivete had all the genuineness of the effort of the tyro and was not the counterfeit of it which is so much in evidence in the intensely rejuvenated works of the highly sophisticated—showed the faculty for affectionate and truthful record by a receptive eye and faithful hand; but his work today has reached higher levels of technical accomplishment. His Moonlight, Spring Ice and The Birches are among his best. In The Canadian Courier, painter Estelle Kerr similarly spoke positively, describing Thomson as "one of the most promising of Canadian painters who follows the impressionist movement and his work reveals himself to be a fine colourist, a clever technician, and a truthful interpreter of the north land in its various aspects.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: Explain the Provenance and exhibition of this artwork, Spring Ice.

In March and April 1916 Thomson exhibited Spring Ice and three canvases with the Ontario Society of Artists (OSA). The other paintings were In the Northland (at that time, titled The Birches), Moonlight and October (then titled The Hardwoods), all of which were painted over the winter of 1915–16. Sir Edmund Walker and Eric Brown of the National Gallery of Canada wanted to purchase In the Northland, but Montreal trustee Dr. Francis Shepherd convinced them to instead purchase Spring Ice. They bought it for $300 (equivalent to CAD$7,000 in 2023).Reception to Thomson's paintings at this time were mixed. Margaret Fairbairn of the Toronto Daily Star wrote, "Mr. Tom Thomson's 'The Birches' and 'The Hardwoods' show a fondness for intense yellows and orange and strong blue, altogether a fearless use of violent colour which can scarcely be called pleasing, and yet which seems an exaggeration of a truthful feeling that time will temper." A more favourable take came from artist Wyly Grier in The Christian Science Monitor: Tom Thomson again reveals his capacity to be modern and remain individual. His early pictures—in which the quality of naivete had all the genuineness of the effort of the tyro and was not the counterfeit of it which is so much in evidence in the intensely rejuvenated works of the highly sophisticated—showed the faculty for affectionate and truthful record by a receptive eye and faithful hand; but his work today has reached higher levels of technical accomplishment. His Moonlight, Spring Ice and The Birches are among his best. In The Canadian Courier, painter Estelle Kerr similarly spoke positively, describing Thomson as "one of the most promising of Canadian painters who follows the impressionist movement and his work reveals himself to be a fine colourist, a clever technician, and a truthful interpreter of the north land in its various aspects.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: How does Spring Ice explain its Provenance and exhibition?

In March and April 1916 Thomson exhibited Spring Ice and three canvases with the Ontario Society of Artists (OSA). The other paintings were In the Northland (at that time, titled The Birches), Moonlight and October (then titled The Hardwoods), all of which were painted over the winter of 1915–16. Sir Edmund Walker and Eric Brown of the National Gallery of Canada wanted to purchase In the Northland, but Montreal trustee Dr. Francis Shepherd convinced them to instead purchase Spring Ice. They bought it for $300 (equivalent to CAD$7,000 in 2023).Reception to Thomson's paintings at this time were mixed. Margaret Fairbairn of the Toronto Daily Star wrote, "Mr. Tom Thomson's 'The Birches' and 'The Hardwoods' show a fondness for intense yellows and orange and strong blue, altogether a fearless use of violent colour which can scarcely be called pleasing, and yet which seems an exaggeration of a truthful feeling that time will temper." A more favourable take came from artist Wyly Grier in The Christian Science Monitor: Tom Thomson again reveals his capacity to be modern and remain individual. His early pictures—in which the quality of naivete had all the genuineness of the effort of the tyro and was not the counterfeit of it which is so much in evidence in the intensely rejuvenated works of the highly sophisticated—showed the faculty for affectionate and truthful record by a receptive eye and faithful hand; but his work today has reached higher levels of technical accomplishment. His Moonlight, Spring Ice and The Birches are among his best. In The Canadian Courier, painter Estelle Kerr similarly spoke positively, describing Thomson as "one of the most promising of Canadian painters who follows the impressionist movement and his work reveals himself to be a fine colourist, a clever technician, and a truthful interpreter of the north land in its various aspects.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Spring Ice

Prompt: In Spring Ice, how is the Provenance and exhibition discussed?

In March and April 1916 Thomson exhibited Spring Ice and three canvases with the Ontario Society of Artists (OSA). The other paintings were In the Northland (at that time, titled The Birches), Moonlight and October (then titled The Hardwoods), all of which were painted over the winter of 1915–16. Sir Edmund Walker and Eric Brown of the National Gallery of Canada wanted to purchase In the Northland, but Montreal trustee Dr. Francis Shepherd convinced them to instead purchase Spring Ice. They bought it for $300 (equivalent to CAD$7,000 in 2023).Reception to Thomson's paintings at this time were mixed. Margaret Fairbairn of the Toronto Daily Star wrote, "Mr. Tom Thomson's 'The Birches' and 'The Hardwoods' show a fondness for intense yellows and orange and strong blue, altogether a fearless use of violent colour which can scarcely be called pleasing, and yet which seems an exaggeration of a truthful feeling that time will temper." A more favourable take came from artist Wyly Grier in The Christian Science Monitor: Tom Thomson again reveals his capacity to be modern and remain individual. His early pictures—in which the quality of naivete had all the genuineness of the effort of the tyro and was not the counterfeit of it which is so much in evidence in the intensely rejuvenated works of the highly sophisticated—showed the faculty for affectionate and truthful record by a receptive eye and faithful hand; but his work today has reached higher levels of technical accomplishment. His Moonlight, Spring Ice and The Birches are among his best. In The Canadian Courier, painter Estelle Kerr similarly spoke positively, describing Thomson as "one of the most promising of Canadian painters who follows the impressionist movement and his work reveals himself to be a fine colourist, a clever technician, and a truthful interpreter of the north land in its various aspects.

Category:Collection of the National Gallery of Canada

''River'', March–April 1915. National Gallery of Canada, Ottawa

alt=Tom Thomson's painting ''The Opening of the Rivers Sketch for Spring Ice''

File:Tom Thomson The Opening of the Rivers Sketch for Spring Ice.jpg

''The Opening of the Rivers: Sketch for "Spring Ice"'', Spring 1915. [[Oil painting


Prompt: Focus on The Finding of the Saviour in the Temple and explain the abstract.

The Finding of the Saviour in the Temple (1854–1860) is a painting by the English artist William Holman Hunt intended as an ethnographically accurate version of the subject traditionally known as "Christ Among the Doctors", an illustration of the child Jesus debating the interpretation of the scripture with learned rabbis. The passage illustrated is from the Gospel of Luke, 2:41, which states:Every year his parents went to Jerusalem for the Feast of the Passover. When he was twelve years old, they went up to the Feast, according to the custom. After the Feast was over, while his parents were returning home, the boy Jesus stayed behind in Jerusalem, but they were unaware of it. Thinking he was in their company, they traveled on for a day. Then they began looking for him among their relatives and friends. When they did not find him, they went back to Jerusalem to look for him. After three days they found him in the temple courts, sitting among the teachers, listening to them and asking them questions. Everyone who heard him was amazed at his understanding and his answers. When his parents saw him, they were astonished. His mother said to him, "Son, why have you treated us like this? Your father and I have been anxiously searching for you." "Why were you searching for me?" he asked. "Didn't you know I had to be in my Father's house?" But they did not understand what he was saying to them.Hunt depicts the moment at which Mary and Joseph find Jesus, while the rabbis in the temple are reacting in various contrasting ways to his discourse, some intrigued, others angry or dismissive. This depiction of contrasting reactions is part of the tradition of the subject, as evidenced in Albrecht Dürer's much earlier version. Hunt would also have known Bernardino Luini's version of the subject in the National Gallery. At the time this was ascribed to Leonardo da Vinci.

Category:Collection of Birmingham Museum and Art Gallery

Category:Paintings by William Holman Hunt


Prompt: Explain the abstract of this artwork, The Finding of the Saviour in the Temple.

The Finding of the Saviour in the Temple (1854–1860) is a painting by the English artist William Holman Hunt intended as an ethnographically accurate version of the subject traditionally known as "Christ Among the Doctors", an illustration of the child Jesus debating the interpretation of the scripture with learned rabbis. The passage illustrated is from the Gospel of Luke, 2:41, which states:Every year his parents went to Jerusalem for the Feast of the Passover. When he was twelve years old, they went up to the Feast, according to the custom. After the Feast was over, while his parents were returning home, the boy Jesus stayed behind in Jerusalem, but they were unaware of it. Thinking he was in their company, they traveled on for a day. Then they began looking for him among their relatives and friends. When they did not find him, they went back to Jerusalem to look for him. After three days they found him in the temple courts, sitting among the teachers, listening to them and asking them questions. Everyone who heard him was amazed at his understanding and his answers. When his parents saw him, they were astonished. His mother said to him, "Son, why have you treated us like this? Your father and I have been anxiously searching for you." "Why were you searching for me?" he asked. "Didn't you know I had to be in my Father's house?" But they did not understand what he was saying to them.Hunt depicts the moment at which Mary and Joseph find Jesus, while the rabbis in the temple are reacting in various contrasting ways to his discourse, some intrigued, others angry or dismissive. This depiction of contrasting reactions is part of the tradition of the subject, as evidenced in Albrecht Dürer's much earlier version. Hunt would also have known Bernardino Luini's version of the subject in the National Gallery. At the time this was ascribed to Leonardo da Vinci.

Category:Collection of Birmingham Museum and Art Gallery

Category:Paintings by William Holman Hunt


Prompt: How does The Finding of the Saviour in the Temple explain its abstract?

The Finding of the Saviour in the Temple (1854–1860) is a painting by the English artist William Holman Hunt intended as an ethnographically accurate version of the subject traditionally known as "Christ Among the Doctors", an illustration of the child Jesus debating the interpretation of the scripture with learned rabbis. The passage illustrated is from the Gospel of Luke, 2:41, which states:Every year his parents went to Jerusalem for the Feast of the Passover. When he was twelve years old, they went up to the Feast, according to the custom. After the Feast was over, while his parents were returning home, the boy Jesus stayed behind in Jerusalem, but they were unaware of it. Thinking he was in their company, they traveled on for a day. Then they began looking for him among their relatives and friends. When they did not find him, they went back to Jerusalem to look for him. After three days they found him in the temple courts, sitting among the teachers, listening to them and asking them questions. Everyone who heard him was amazed at his understanding and his answers. When his parents saw him, they were astonished. His mother said to him, "Son, why have you treated us like this? Your father and I have been anxiously searching for you." "Why were you searching for me?" he asked. "Didn't you know I had to be in my Father's house?" But they did not understand what he was saying to them.Hunt depicts the moment at which Mary and Joseph find Jesus, while the rabbis in the temple are reacting in various contrasting ways to his discourse, some intrigued, others angry or dismissive. This depiction of contrasting reactions is part of the tradition of the subject, as evidenced in Albrecht Dürer's much earlier version. Hunt would also have known Bernardino Luini's version of the subject in the National Gallery. At the time this was ascribed to Leonardo da Vinci.

Category:Collection of Birmingham Museum and Art Gallery

Category:Paintings by William Holman Hunt


Prompt: In The Finding of the Saviour in the Temple, how is the abstract discussed?

The Finding of the Saviour in the Temple (1854–1860) is a painting by the English artist William Holman Hunt intended as an ethnographically accurate version of the subject traditionally known as "Christ Among the Doctors", an illustration of the child Jesus debating the interpretation of the scripture with learned rabbis. The passage illustrated is from the Gospel of Luke, 2:41, which states:Every year his parents went to Jerusalem for the Feast of the Passover. When he was twelve years old, they went up to the Feast, according to the custom. After the Feast was over, while his parents were returning home, the boy Jesus stayed behind in Jerusalem, but they were unaware of it. Thinking he was in their company, they traveled on for a day. Then they began looking for him among their relatives and friends. When they did not find him, they went back to Jerusalem to look for him. After three days they found him in the temple courts, sitting among the teachers, listening to them and asking them questions. Everyone who heard him was amazed at his understanding and his answers. When his parents saw him, they were astonished. His mother said to him, "Son, why have you treated us like this? Your father and I have been anxiously searching for you." "Why were you searching for me?" he asked. "Didn't you know I had to be in my Father's house?" But they did not understand what he was saying to them.Hunt depicts the moment at which Mary and Joseph find Jesus, while the rabbis in the temple are reacting in various contrasting ways to his discourse, some intrigued, others angry or dismissive. This depiction of contrasting reactions is part of the tradition of the subject, as evidenced in Albrecht Dürer's much earlier version. Hunt would also have known Bernardino Luini's version of the subject in the National Gallery. At the time this was ascribed to Leonardo da Vinci.

Category:Collection of Birmingham Museum and Art Gallery

Category:Paintings by William Holman Hunt


Prompt: Focus on The Finding of the Saviour in the Temple and explain the Background.

Obsessed with the idea of revitalising religious art by emphasising ethnographical accuracy combined with detailed Biblical symbolism, Hunt had travelled to the Middle East to create the picture, using local people as models and studying ancient Judaic customs and rituals. Progress on the painting was delayed by difficulties with models, and eventually Hunt postponed it to work on another project, The Scapegoat. He eventually completed it in 1860, back in England. His friend Frederic George Stephens wrote a pamphlet containing a detailed explanation of the content and the characters. It was then shown in a series of popular travelling exhibitions at which visitors could buy the pamphlet and subscribe to an engraved reproduction. These were organised by the dealer Ernest Gambart, and proved a great financial success.Hunt sold the painting to Charles Dickens for £5,500.Thomas Carlyle gave his thoughts in a letter:The Christ is an exquisite mixture of a god and a peasant lad. His mother too is very fine; but I thot she shd have been a little angry withal (at having got such a fright from her careless son) instead of merely rapturous over him as she might be over a baby saved from the wolf. There were other criticisms:-but I have not seen such a Picture, for fidelity of execution, for exquisite finish, and limner and other talent, by any modern man.

Category:Collection of Birmingham Museum and Art Gallery

Category:Paintings by William Holman Hunt


Prompt: Explain the Background of this artwork, The Finding of the Saviour in the Temple.

Obsessed with the idea of revitalising religious art by emphasising ethnographical accuracy combined with detailed Biblical symbolism, Hunt had travelled to the Middle East to create the picture, using local people as models and studying ancient Judaic customs and rituals. Progress on the painting was delayed by difficulties with models, and eventually Hunt postponed it to work on another project, The Scapegoat. He eventually completed it in 1860, back in England. His friend Frederic George Stephens wrote a pamphlet containing a detailed explanation of the content and the characters. It was then shown in a series of popular travelling exhibitions at which visitors could buy the pamphlet and subscribe to an engraved reproduction. These were organised by the dealer Ernest Gambart, and proved a great financial success.Hunt sold the painting to Charles Dickens for £5,500.Thomas Carlyle gave his thoughts in a letter:The Christ is an exquisite mixture of a god and a peasant lad. His mother too is very fine; but I thot she shd have been a little angry withal (at having got such a fright from her careless son) instead of merely rapturous over him as she might be over a baby saved from the wolf. There were other criticisms:-but I have not seen such a Picture, for fidelity of execution, for exquisite finish, and limner and other talent, by any modern man.

Category:Collection of Birmingham Museum and Art Gallery

Category:Paintings by William Holman Hunt


Prompt: How does The Finding of the Saviour in the Temple explain its Background?

Obsessed with the idea of revitalising religious art by emphasising ethnographical accuracy combined with detailed Biblical symbolism, Hunt had travelled to the Middle East to create the picture, using local people as models and studying ancient Judaic customs and rituals. Progress on the painting was delayed by difficulties with models, and eventually Hunt postponed it to work on another project, The Scapegoat. He eventually completed it in 1860, back in England. His friend Frederic George Stephens wrote a pamphlet containing a detailed explanation of the content and the characters. It was then shown in a series of popular travelling exhibitions at which visitors could buy the pamphlet and subscribe to an engraved reproduction. These were organised by the dealer Ernest Gambart, and proved a great financial success.Hunt sold the painting to Charles Dickens for £5,500.Thomas Carlyle gave his thoughts in a letter:The Christ is an exquisite mixture of a god and a peasant lad. His mother too is very fine; but I thot she shd have been a little angry withal (at having got such a fright from her careless son) instead of merely rapturous over him as she might be over a baby saved from the wolf. There were other criticisms:-but I have not seen such a Picture, for fidelity of execution, for exquisite finish, and limner and other talent, by any modern man.

Category:Collection of Birmingham Museum and Art Gallery

Category:Paintings by William Holman Hunt


Prompt: In The Finding of the Saviour in the Temple, how is the Background discussed?

Obsessed with the idea of revitalising religious art by emphasising ethnographical accuracy combined with detailed Biblical symbolism, Hunt had travelled to the Middle East to create the picture, using local people as models and studying ancient Judaic customs and rituals. Progress on the painting was delayed by difficulties with models, and eventually Hunt postponed it to work on another project, The Scapegoat. He eventually completed it in 1860, back in England. His friend Frederic George Stephens wrote a pamphlet containing a detailed explanation of the content and the characters. It was then shown in a series of popular travelling exhibitions at which visitors could buy the pamphlet and subscribe to an engraved reproduction. These were organised by the dealer Ernest Gambart, and proved a great financial success.Hunt sold the painting to Charles Dickens for £5,500.Thomas Carlyle gave his thoughts in a letter:The Christ is an exquisite mixture of a god and a peasant lad. His mother too is very fine; but I thot she shd have been a little angry withal (at having got such a fright from her careless son) instead of merely rapturous over him as she might be over a baby saved from the wolf. There were other criticisms:-but I have not seen such a Picture, for fidelity of execution, for exquisite finish, and limner and other talent, by any modern man.

Category:Collection of Birmingham Museum and Art Gallery

Category:Paintings by William Holman Hunt


Sripuranthan Natarajan Idol

Prompt: Focus on Sripuranthan Natarajan Idol and explain the abstract.

The Sripuranthan Natarajan Idol, is a 900-year-old statue of Natarajan — the dancing Shiva — that was stolen from the ancient Brihadeeswarar temple of Sripuranthan, smuggled to the United States, and then sold to the National Gallery of Australia, Canberra with a false provenance, for US$5.1 million. The statue was consequently returned by Australia to the Indian government on ethical grounds, once questions were raised on due diligence not being followed during the acquisition.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Explain the abstract of this artwork, Sripuranthan Natarajan Idol.

The Sripuranthan Natarajan Idol, is a 900-year-old statue of Natarajan — the dancing Shiva — that was stolen from the ancient Brihadeeswarar temple of Sripuranthan, smuggled to the United States, and then sold to the National Gallery of Australia, Canberra with a false provenance, for US$5.1 million. The statue was consequently returned by Australia to the Indian government on ethical grounds, once questions were raised on due diligence not being followed during the acquisition.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: How does Sripuranthan Natarajan Idol explain its abstract?

The Sripuranthan Natarajan Idol, is a 900-year-old statue of Natarajan — the dancing Shiva — that was stolen from the ancient Brihadeeswarar temple of Sripuranthan, smuggled to the United States, and then sold to the National Gallery of Australia, Canberra with a false provenance, for US$5.1 million. The statue was consequently returned by Australia to the Indian government on ethical grounds, once questions were raised on due diligence not being followed during the acquisition.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: In Sripuranthan Natarajan Idol, how is the abstract discussed?

The Sripuranthan Natarajan Idol, is a 900-year-old statue of Natarajan — the dancing Shiva — that was stolen from the ancient Brihadeeswarar temple of Sripuranthan, smuggled to the United States, and then sold to the National Gallery of Australia, Canberra with a false provenance, for US$5.1 million. The statue was consequently returned by Australia to the Indian government on ethical grounds, once questions were raised on due diligence not being followed during the acquisition.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Focus on Sripuranthan Natarajan Idol and explain the Nataraja.

Nataraja (Tamil: "நடராசர்" or Kooththan "கூத்தன்; The Lord (or King) of Dance) is a depiction of the Hindu God Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as "Sabesan" which splits as "Sabayil aadum eesan" in Tamil which means "The Lord who dances on the dais". The form is present in most Shiva temples in South India and is the prime deity in the famous Thillai Nataraja Temple at Chidambaram. The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (in rare cases, the right leg) and balancing over a demon or dwarf (Muyalaka) who symbolizes ignorance. It is a well-known sculptural symbol in India and popularly used as a symbol of Indian culture.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Explain the Nataraja of this artwork, Sripuranthan Natarajan Idol.

Nataraja (Tamil: "நடராசர்" or Kooththan "கூத்தன்; The Lord (or King) of Dance) is a depiction of the Hindu God Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as "Sabesan" which splits as "Sabayil aadum eesan" in Tamil which means "The Lord who dances on the dais". The form is present in most Shiva temples in South India and is the prime deity in the famous Thillai Nataraja Temple at Chidambaram. The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (in rare cases, the right leg) and balancing over a demon or dwarf (Muyalaka) who symbolizes ignorance. It is a well-known sculptural symbol in India and popularly used as a symbol of Indian culture.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: How does Sripuranthan Natarajan Idol explain its Nataraja?

Nataraja (Tamil: "நடராசர்" or Kooththan "கூத்தன்; The Lord (or King) of Dance) is a depiction of the Hindu God Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as "Sabesan" which splits as "Sabayil aadum eesan" in Tamil which means "The Lord who dances on the dais". The form is present in most Shiva temples in South India and is the prime deity in the famous Thillai Nataraja Temple at Chidambaram. The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (in rare cases, the right leg) and balancing over a demon or dwarf (Muyalaka) who symbolizes ignorance. It is a well-known sculptural symbol in India and popularly used as a symbol of Indian culture.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: In Sripuranthan Natarajan Idol, how is the Nataraja discussed?

Nataraja (Tamil: "நடராசர்" or Kooththan "கூத்தன்; The Lord (or King) of Dance) is a depiction of the Hindu God Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as "Sabesan" which splits as "Sabayil aadum eesan" in Tamil which means "The Lord who dances on the dais". The form is present in most Shiva temples in South India and is the prime deity in the famous Thillai Nataraja Temple at Chidambaram. The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (in rare cases, the right leg) and balancing over a demon or dwarf (Muyalaka) who symbolizes ignorance. It is a well-known sculptural symbol in India and popularly used as a symbol of Indian culture.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Focus on Sripuranthan Natarajan Idol and explain the Background.

The Udayarpalayam taluk of the Ariyalur District, in Tamil Nadu, India has nearly 463 ancient temples, of which 200 belong to the Chola period dated 9th to 10th century AD. Most of these temples haven't seen maintenance for many decades and have lax security. Local thieves used to target the idols for their metal content, usually melting them. Some idols are pure gold, silver and panchaloha. However, the entry of international smuggling cartels has changed the situation. With antique Chola art being worth millions in the international market, idol thieves were recruited to lift them from the temples. In 2008, one such gang allegedly recruited by New York-based art dealer Subhash Kapoor was responsible for stealing eight idols from the Brihadeeswarar temple at Sripuranthan, 18 idols from the Varadharaja Perumal temple, and in 2010, 6 panchaloha idols from Chozeeshwarar temple at Vikiramangalam.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Explain the Background of this artwork, Sripuranthan Natarajan Idol.

The Udayarpalayam taluk of the Ariyalur District, in Tamil Nadu, India has nearly 463 ancient temples, of which 200 belong to the Chola period dated 9th to 10th century AD. Most of these temples haven't seen maintenance for many decades and have lax security. Local thieves used to target the idols for their metal content, usually melting them. Some idols are pure gold, silver and panchaloha. However, the entry of international smuggling cartels has changed the situation. With antique Chola art being worth millions in the international market, idol thieves were recruited to lift them from the temples. In 2008, one such gang allegedly recruited by New York-based art dealer Subhash Kapoor was responsible for stealing eight idols from the Brihadeeswarar temple at Sripuranthan, 18 idols from the Varadharaja Perumal temple, and in 2010, 6 panchaloha idols from Chozeeshwarar temple at Vikiramangalam.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: How does Sripuranthan Natarajan Idol explain its Background?

The Udayarpalayam taluk of the Ariyalur District, in Tamil Nadu, India has nearly 463 ancient temples, of which 200 belong to the Chola period dated 9th to 10th century AD. Most of these temples haven't seen maintenance for many decades and have lax security. Local thieves used to target the idols for their metal content, usually melting them. Some idols are pure gold, silver and panchaloha. However, the entry of international smuggling cartels has changed the situation. With antique Chola art being worth millions in the international market, idol thieves were recruited to lift them from the temples. In 2008, one such gang allegedly recruited by New York-based art dealer Subhash Kapoor was responsible for stealing eight idols from the Brihadeeswarar temple at Sripuranthan, 18 idols from the Varadharaja Perumal temple, and in 2010, 6 panchaloha idols from Chozeeshwarar temple at Vikiramangalam.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: In Sripuranthan Natarajan Idol, how is the Background discussed?

The Udayarpalayam taluk of the Ariyalur District, in Tamil Nadu, India has nearly 463 ancient temples, of which 200 belong to the Chola period dated 9th to 10th century AD. Most of these temples haven't seen maintenance for many decades and have lax security. Local thieves used to target the idols for their metal content, usually melting them. Some idols are pure gold, silver and panchaloha. However, the entry of international smuggling cartels has changed the situation. With antique Chola art being worth millions in the international market, idol thieves were recruited to lift them from the temples. In 2008, one such gang allegedly recruited by New York-based art dealer Subhash Kapoor was responsible for stealing eight idols from the Brihadeeswarar temple at Sripuranthan, 18 idols from the Varadharaja Perumal temple, and in 2010, 6 panchaloha idols from Chozeeshwarar temple at Vikiramangalam.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Focus on Sripuranthan Natarajan Idol and explain the Subhash Kapoor.

Subhash Kapoor owned an upscale Indian art dealership called 'Art of the Past' in Manhattan, USA. Across the years he had built a good working relationship with international art galleries as a reputable dealer of Indian antiques. Following accusations of illegal dealing, Kapoor's gallery was raided by Homeland Security and stolen artwork worth $100 million was seized. Subhash Kapoor was arrested in Germany and extradited to India to face trial. As of 2016, he is lodged at the Puzhal Central Prison in Tamil Nadu, India, facing charges for criminal conspiracy to steal antique idols, which carries a maximum sentence of 14 years. Kapoor protests his innocence and believes that he has been framed.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Explain the Subhash Kapoor of this artwork, Sripuranthan Natarajan Idol.

Subhash Kapoor owned an upscale Indian art dealership called 'Art of the Past' in Manhattan, USA. Across the years he had built a good working relationship with international art galleries as a reputable dealer of Indian antiques. Following accusations of illegal dealing, Kapoor's gallery was raided by Homeland Security and stolen artwork worth $100 million was seized. Subhash Kapoor was arrested in Germany and extradited to India to face trial. As of 2016, he is lodged at the Puzhal Central Prison in Tamil Nadu, India, facing charges for criminal conspiracy to steal antique idols, which carries a maximum sentence of 14 years. Kapoor protests his innocence and believes that he has been framed.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: How does Sripuranthan Natarajan Idol explain its Subhash Kapoor?

Subhash Kapoor owned an upscale Indian art dealership called 'Art of the Past' in Manhattan, USA. Across the years he had built a good working relationship with international art galleries as a reputable dealer of Indian antiques. Following accusations of illegal dealing, Kapoor's gallery was raided by Homeland Security and stolen artwork worth $100 million was seized. Subhash Kapoor was arrested in Germany and extradited to India to face trial. As of 2016, he is lodged at the Puzhal Central Prison in Tamil Nadu, India, facing charges for criminal conspiracy to steal antique idols, which carries a maximum sentence of 14 years. Kapoor protests his innocence and believes that he has been framed.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: In Sripuranthan Natarajan Idol, how is the Subhash Kapoor discussed?

Subhash Kapoor owned an upscale Indian art dealership called 'Art of the Past' in Manhattan, USA. Across the years he had built a good working relationship with international art galleries as a reputable dealer of Indian antiques. Following accusations of illegal dealing, Kapoor's gallery was raided by Homeland Security and stolen artwork worth $100 million was seized. Subhash Kapoor was arrested in Germany and extradited to India to face trial. As of 2016, he is lodged at the Puzhal Central Prison in Tamil Nadu, India, facing charges for criminal conspiracy to steal antique idols, which carries a maximum sentence of 14 years. Kapoor protests his innocence and believes that he has been framed.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Focus on Sripuranthan Natarajan Idol and explain the Idol theft from Sripuranthan.

According to the art investigative website, Chasing Aphrodite, Kapoor traveled to India and met Sanjivi Asokan, a kingpin of a ring of idol thieves. In 2006, thieves were hired for US$12,000 to steal eight idols — Nataraja and Uma Mashewari, Vinayagar, Devi, Deepalaksmi, Chandrashekarar, Sampanthar and Krishnar — from the dilapidated Brihadeeswarar temple at Sripuranthan. Worship at the temple had ended a long time before, as it was plagued by scorpions and poisonous bugs, and it was locked and had fallen into ruins. The theft occurred on three occasions starting in January 2006, with the thieves carefully gluing back the lock, using a lorry (truck) parked on the dry river bed behind the temple as the getaway vehicle. Soon after the theft, pictures of the stolen idols were sent to Kapoor in October 2006. The idols were mixed with new replicas to fool customs officials and exported out of India to New York by a company called Ever Star International Services Inc. where they were received by Nimbus Imports Exports, a company owned by Kapoor. Soon afterwards Kapoor obtained a certificate from the Art Loss Register (ALR) stating that the Nataraja idol was not on the stolen artifacts register.At this point, the ALR had no information on the stolen Nataraja, as the theft of the idols was discovered by the villagers only in 2008. The discovery was made when officials of the Archaeological Survey of India, Government of India arrived in the village to remove the idols from the temple for safekeeping and the glued lock and missing idols were discovered. A First Information Report (FIR 133/2008) was filed at the Vikramangalam Police Station in this regard. The Economic Offenses Wing of the Tamil Nadu Police released pictures of the missing idols on its website.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: Explain the Idol theft from Sripuranthan of this artwork, Sripuranthan Natarajan Idol.

According to the art investigative website, Chasing Aphrodite, Kapoor traveled to India and met Sanjivi Asokan, a kingpin of a ring of idol thieves. In 2006, thieves were hired for US$12,000 to steal eight idols — Nataraja and Uma Mashewari, Vinayagar, Devi, Deepalaksmi, Chandrashekarar, Sampanthar and Krishnar — from the dilapidated Brihadeeswarar temple at Sripuranthan. Worship at the temple had ended a long time before, as it was plagued by scorpions and poisonous bugs, and it was locked and had fallen into ruins. The theft occurred on three occasions starting in January 2006, with the thieves carefully gluing back the lock, using a lorry (truck) parked on the dry river bed behind the temple as the getaway vehicle. Soon after the theft, pictures of the stolen idols were sent to Kapoor in October 2006. The idols were mixed with new replicas to fool customs officials and exported out of India to New York by a company called Ever Star International Services Inc. where they were received by Nimbus Imports Exports, a company owned by Kapoor. Soon afterwards Kapoor obtained a certificate from the Art Loss Register (ALR) stating that the Nataraja idol was not on the stolen artifacts register.At this point, the ALR had no information on the stolen Nataraja, as the theft of the idols was discovered by the villagers only in 2008. The discovery was made when officials of the Archaeological Survey of India, Government of India arrived in the village to remove the idols from the temple for safekeeping and the glued lock and missing idols were discovered. A First Information Report (FIR 133/2008) was filed at the Vikramangalam Police Station in this regard. The Economic Offenses Wing of the Tamil Nadu Police released pictures of the missing idols on its website.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: How does Sripuranthan Natarajan Idol explain its Idol theft from Sripuranthan?

According to the art investigative website, Chasing Aphrodite, Kapoor traveled to India and met Sanjivi Asokan, a kingpin of a ring of idol thieves. In 2006, thieves were hired for US$12,000 to steal eight idols — Nataraja and Uma Mashewari, Vinayagar, Devi, Deepalaksmi, Chandrashekarar, Sampanthar and Krishnar — from the dilapidated Brihadeeswarar temple at Sripuranthan. Worship at the temple had ended a long time before, as it was plagued by scorpions and poisonous bugs, and it was locked and had fallen into ruins. The theft occurred on three occasions starting in January 2006, with the thieves carefully gluing back the lock, using a lorry (truck) parked on the dry river bed behind the temple as the getaway vehicle. Soon after the theft, pictures of the stolen idols were sent to Kapoor in October 2006. The idols were mixed with new replicas to fool customs officials and exported out of India to New York by a company called Ever Star International Services Inc. where they were received by Nimbus Imports Exports, a company owned by Kapoor. Soon afterwards Kapoor obtained a certificate from the Art Loss Register (ALR) stating that the Nataraja idol was not on the stolen artifacts register.At this point, the ALR had no information on the stolen Nataraja, as the theft of the idols was discovered by the villagers only in 2008. The discovery was made when officials of the Archaeological Survey of India, Government of India arrived in the village to remove the idols from the temple for safekeeping and the glued lock and missing idols were discovered. A First Information Report (FIR 133/2008) was filed at the Vikramangalam Police Station in this regard. The Economic Offenses Wing of the Tamil Nadu Police released pictures of the missing idols on its website.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property


Sripuranthan Natarajan Idol

Prompt: In Sripuranthan Natarajan Idol, how is the Idol theft from Sripuranthan discussed?

According to the art investigative website, Chasing Aphrodite, Kapoor traveled to India and met Sanjivi Asokan, a kingpin of a ring of idol thieves. In 2006, thieves were hired for US$12,000 to steal eight idols — Nataraja and Uma Mashewari, Vinayagar, Devi, Deepalaksmi, Chandrashekarar, Sampanthar and Krishnar — from the dilapidated Brihadeeswarar temple at Sripuranthan. Worship at the temple had ended a long time before, as it was plagued by scorpions and poisonous bugs, and it was locked and had fallen into ruins. The theft occurred on three occasions starting in January 2006, with the thieves carefully gluing back the lock, using a lorry (truck) parked on the dry river bed behind the temple as the getaway vehicle. Soon after the theft, pictures of the stolen idols were sent to Kapoor in October 2006. The idols were mixed with new replicas to fool customs officials and exported out of India to New York by a company called Ever Star International Services Inc. where they were received by Nimbus Imports Exports, a company owned by Kapoor. Soon afterwards Kapoor obtained a certificate from the Art Loss Register (ALR) stating that the Nataraja idol was not on the stolen artifacts register.At this point, the ALR had no information on the stolen Nataraja, as the theft of the idols was discovered by the villagers only in 2008. The discovery was made when officials of the Archaeological Survey of India, Government of India arrived in the village to remove the idols from the temple for safekeeping and the glued lock and missing idols were discovered. A First Information Report (FIR 133/2008) was filed at the Vikramangalam Police Station in this regard. The Economic Offenses Wing of the Tamil Nadu Police released pictures of the missing idols on its website.

File:The Prime Minister, Shri Narendra Modi with the German Chancellor, Dr. Angela Merkel, at the Joint Press Briefing, at Hyderabad House, in New Delhi on October 05, 2015 (1).jpg

File:The Prime Minister of Australia, Mr. Tony Abbott returning the two antique statues to India, in the presence of the Prime Minister, Shri Narendra Modi, in New Delhi on September 05, 2014.jpg

Modi and Merkel during handover of Mahishasuramardini

UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property