The Expedition in Pursuit of Rare Meats

Prompt: Explain the 2020 petition and review about the Reception of this artwork, The Expedition in Pursuit of Rare Meats.

In July 2020, The White Pube, a duo of art critics, began a campaign against the mural on Instagram. A Change.org petition by the duo read: "The fundamental point of a high class restaurant (used primarily by an older white demographic) being installed with art of this horrific nature is not being acknowledged as the harmful and hateful issue it is" and that The Expedition in Pursuit of Rare Meats "sounds more like a concept for a horror film than what you would expect Britain's largest art institution to offer up as an exclusive dining experience...Tate Britain allowing this overtly racist painting to remain for diners' enjoyment is not acceptable". The Tate stated in response: "it is important to acknowledge the presence of offensive and unacceptable content and its relationship to racist and imperialist attitudes in the 1920s and today". The work was reviewed by an ethics committee which reported to the board of the Tate galleries in September 2020. The committee was headed by the Canadian postal executive Moya Greene. The committee reported that they were "unequivocal in their view that the imagery of the work is offensive" and that the offence was "compounded by the use of the room as a restaurant"; however, they stated that the work "should not be altered or removed" and that it is in the care of the Tate's trustees. The mural is part of the fabric of the Grade II* listed building and so cannot be easily resited. The room displaying the mural was closed as a restaurant in 2020.In August 2020 following a public campaign, The Tate removed a description from its website that had described the restaurant as "the most amusing room in Europe" and wrote that "Whistler's treatment of non-white figures reduces them to stereotypes" and that the gallery was "working to become a space that is more relevant, welcoming and inclusive for everyone". In a September 2020, trustees acknowledged that "previous contextualisation of the imagery has not been adequate."Martin Bailey wrote in The Art Newspaper that "Tate now faces a dilemma. As an art gallery, it can hardly cover the offending figures with a screen and it has a responsibility to allow public access to a work by an important early 20th-century British painter". The future visibility of the room will have to be determined, either by appointment or on a limited or permanent basis to visitors. A permanent security presence will also be required. The notoriety of the mural is also likely to attract many future visitors and thus increase the visibility of the offensive depictions. Bailey wrote that by "drawing attention to the two black children and the Chinese figures the overwhelming number of visitors will go to see the mural simply because of the controversy. They will focus on the offensive passages rather than engage with it as a work of art—and many more people are likely to view the inappropriate figures than a few years ago".

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: In The Expedition in Pursuit of Rare Meats, how is the 2020 petition and review of the Reception explained?

In July 2020, The White Pube, a duo of art critics, began a campaign against the mural on Instagram. A Change.org petition by the duo read: "The fundamental point of a high class restaurant (used primarily by an older white demographic) being installed with art of this horrific nature is not being acknowledged as the harmful and hateful issue it is" and that The Expedition in Pursuit of Rare Meats "sounds more like a concept for a horror film than what you would expect Britain's largest art institution to offer up as an exclusive dining experience...Tate Britain allowing this overtly racist painting to remain for diners' enjoyment is not acceptable". The Tate stated in response: "it is important to acknowledge the presence of offensive and unacceptable content and its relationship to racist and imperialist attitudes in the 1920s and today". The work was reviewed by an ethics committee which reported to the board of the Tate galleries in September 2020. The committee was headed by the Canadian postal executive Moya Greene. The committee reported that they were "unequivocal in their view that the imagery of the work is offensive" and that the offence was "compounded by the use of the room as a restaurant"; however, they stated that the work "should not be altered or removed" and that it is in the care of the Tate's trustees. The mural is part of the fabric of the Grade II* listed building and so cannot be easily resited. The room displaying the mural was closed as a restaurant in 2020.In August 2020 following a public campaign, The Tate removed a description from its website that had described the restaurant as "the most amusing room in Europe" and wrote that "Whistler's treatment of non-white figures reduces them to stereotypes" and that the gallery was "working to become a space that is more relevant, welcoming and inclusive for everyone". In a September 2020, trustees acknowledged that "previous contextualisation of the imagery has not been adequate."Martin Bailey wrote in The Art Newspaper that "Tate now faces a dilemma. As an art gallery, it can hardly cover the offending figures with a screen and it has a responsibility to allow public access to a work by an important early 20th-century British painter". The future visibility of the room will have to be determined, either by appointment or on a limited or permanent basis to visitors. A permanent security presence will also be required. The notoriety of the mural is also likely to attract many future visitors and thus increase the visibility of the offensive depictions. Bailey wrote that by "drawing attention to the two black children and the Chinese figures the overwhelming number of visitors will go to see the mural simply because of the controversy. They will focus on the offensive passages rather than engage with it as a work of art—and many more people are likely to view the inappropriate figures than a few years ago".

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Describe the characteristics of the 2020 petition and review in The Expedition in Pursuit of Rare Meats's Reception.

In July 2020, The White Pube, a duo of art critics, began a campaign against the mural on Instagram. A Change.org petition by the duo read: "The fundamental point of a high class restaurant (used primarily by an older white demographic) being installed with art of this horrific nature is not being acknowledged as the harmful and hateful issue it is" and that The Expedition in Pursuit of Rare Meats "sounds more like a concept for a horror film than what you would expect Britain's largest art institution to offer up as an exclusive dining experience...Tate Britain allowing this overtly racist painting to remain for diners' enjoyment is not acceptable". The Tate stated in response: "it is important to acknowledge the presence of offensive and unacceptable content and its relationship to racist and imperialist attitudes in the 1920s and today". The work was reviewed by an ethics committee which reported to the board of the Tate galleries in September 2020. The committee was headed by the Canadian postal executive Moya Greene. The committee reported that they were "unequivocal in their view that the imagery of the work is offensive" and that the offence was "compounded by the use of the room as a restaurant"; however, they stated that the work "should not be altered or removed" and that it is in the care of the Tate's trustees. The mural is part of the fabric of the Grade II* listed building and so cannot be easily resited. The room displaying the mural was closed as a restaurant in 2020.In August 2020 following a public campaign, The Tate removed a description from its website that had described the restaurant as "the most amusing room in Europe" and wrote that "Whistler's treatment of non-white figures reduces them to stereotypes" and that the gallery was "working to become a space that is more relevant, welcoming and inclusive for everyone". In a September 2020, trustees acknowledged that "previous contextualisation of the imagery has not been adequate."Martin Bailey wrote in The Art Newspaper that "Tate now faces a dilemma. As an art gallery, it can hardly cover the offending figures with a screen and it has a responsibility to allow public access to a work by an important early 20th-century British painter". The future visibility of the room will have to be determined, either by appointment or on a limited or permanent basis to visitors. A permanent security presence will also be required. The notoriety of the mural is also likely to attract many future visitors and thus increase the visibility of the offensive depictions. Bailey wrote that by "drawing attention to the two black children and the Chinese figures the overwhelming number of visitors will go to see the mural simply because of the controversy. They will focus on the offensive passages rather than engage with it as a work of art—and many more people are likely to view the inappropriate figures than a few years ago".

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: In the context of The Expedition in Pursuit of Rare Meats, explain the 2024 reopening the Rex Whistler Room with site-specific commissions and the Reception.

In February 2022 The Tate announced that the former restaurant would reopen to the public as a display space containing, alongside Whistler's work, "interpretive material" and a site-specific art installation to "critically engage" with the piece. In March 2024, The Rex Whistler Commission: Keith Piper: Viva Voce by British artist Keith Piper became the first commission to "reframe" the mural.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Explain the 2024 reopening the Rex Whistler Room with site-specific commissions about the Reception of this artwork, The Expedition in Pursuit of Rare Meats.

In February 2022 The Tate announced that the former restaurant would reopen to the public as a display space containing, alongside Whistler's work, "interpretive material" and a site-specific art installation to "critically engage" with the piece. In March 2024, The Rex Whistler Commission: Keith Piper: Viva Voce by British artist Keith Piper became the first commission to "reframe" the mural.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: In The Expedition in Pursuit of Rare Meats, how is the 2024 reopening the Rex Whistler Room with site-specific commissions of the Reception explained?

In February 2022 The Tate announced that the former restaurant would reopen to the public as a display space containing, alongside Whistler's work, "interpretive material" and a site-specific art installation to "critically engage" with the piece. In March 2024, The Rex Whistler Commission: Keith Piper: Viva Voce by British artist Keith Piper became the first commission to "reframe" the mural.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


The Expedition in Pursuit of Rare Meats

Prompt: Describe the characteristics of the 2024 reopening the Rex Whistler Room with site-specific commissions in The Expedition in Pursuit of Rare Meats's Reception.

In February 2022 The Tate announced that the former restaurant would reopen to the public as a display space containing, alongside Whistler's work, "interpretive material" and a site-specific art installation to "critically engage" with the piece. In March 2024, The Rex Whistler Commission: Keith Piper: Viva Voce by British artist Keith Piper became the first commission to "reframe" the mural.

Category:Paintings in the Tate galleries

Category:Race-related controversies in painting

A 1927 pamphlet for Rex Whistler Room at the Tate Gallery

flooding of the River Thames in January 1928

List of changes made due to the George Floyd protests

File:Rex Whistler - Tate Pamphlet Cover 1927.jpg


Two Forms (Divided Circle)

Prompt: Focus on Two Forms (Divided Circle) and explain the abstract.

Two Forms (Divided Circle) (BH 477) is a bronze sculpture by Barbara Hepworth, designed in 1969. Six numbered copies were cast, plus one (0/6) retained by the sculptor. The sculpture's dimensions are 237 centimetres (93 in) by 234 centimetres (92 in) by 54 centimetres (21 in).The front of the base has "Barbara Hepworth 1969" inscribed on it followed by the number of the sculpture, as well as "Morris | Singer | FOUNDERS | LONDON", both inscribed by casting.The sculpture is considered to be one of Britain's most recognisable works.The sculpture is late work by Hepworth, created only 6 years before her death in a fire at her studio in St Ives in 1975.  It includes two vertical bronze semi-circles forming a broken circle approximately 2 metres (6 ft 7 in) across, each pieced pierced by one large hole.  Both elements are welded to a bronze base.  All three elements are hollow, and were cast in London by Morris Singer.Hepworth designed the work after being diagnosed with cancer in 1966. She wanted the viewer's body to be engaged with her work, saying: "You can climb through the Divided Circle – you don't need to do it physically to experience it."Hepworth also made a series of nine maquettes about 14.5 inches (370 mm) tall, Maquette for Divided Circle, cast in polished bronze.

Category:Bronze sculptures in the United Kingdom

File:Senate House - geograph.org.uk - 1521893.jpg

File:Two Forms (Divided Circle) by Barbara Hepworth in Dulwich (6112761980).jpg

File:Two Forms (Divided Circle), Downing College, Cambridge - 2023-03-10.jpg


Two Forms (Divided Circle)

Prompt: Explain the abstract of this artwork, Two Forms (Divided Circle).

Two Forms (Divided Circle) (BH 477) is a bronze sculpture by Barbara Hepworth, designed in 1969. Six numbered copies were cast, plus one (0/6) retained by the sculptor. The sculpture's dimensions are 237 centimetres (93 in) by 234 centimetres (92 in) by 54 centimetres (21 in).The front of the base has "Barbara Hepworth 1969" inscribed on it followed by the number of the sculpture, as well as "Morris | Singer | FOUNDERS | LONDON", both inscribed by casting.The sculpture is considered to be one of Britain's most recognisable works.The sculpture is late work by Hepworth, created only 6 years before her death in a fire at her studio in St Ives in 1975.  It includes two vertical bronze semi-circles forming a broken circle approximately 2 metres (6 ft 7 in) across, each pieced pierced by one large hole.  Both elements are welded to a bronze base.  All three elements are hollow, and were cast in London by Morris Singer.Hepworth designed the work after being diagnosed with cancer in 1966. She wanted the viewer's body to be engaged with her work, saying: "You can climb through the Divided Circle – you don't need to do it physically to experience it."Hepworth also made a series of nine maquettes about 14.5 inches (370 mm) tall, Maquette for Divided Circle, cast in polished bronze.

Category:Bronze sculptures in the United Kingdom

File:Senate House - geograph.org.uk - 1521893.jpg

File:Two Forms (Divided Circle) by Barbara Hepworth in Dulwich (6112761980).jpg

File:Two Forms (Divided Circle), Downing College, Cambridge - 2023-03-10.jpg


Two Forms (Divided Circle)

Prompt: How does Two Forms (Divided Circle) explain its abstract?

Two Forms (Divided Circle) (BH 477) is a bronze sculpture by Barbara Hepworth, designed in 1969. Six numbered copies were cast, plus one (0/6) retained by the sculptor. The sculpture's dimensions are 237 centimetres (93 in) by 234 centimetres (92 in) by 54 centimetres (21 in).The front of the base has "Barbara Hepworth 1969" inscribed on it followed by the number of the sculpture, as well as "Morris | Singer | FOUNDERS | LONDON", both inscribed by casting.The sculpture is considered to be one of Britain's most recognisable works.The sculpture is late work by Hepworth, created only 6 years before her death in a fire at her studio in St Ives in 1975.  It includes two vertical bronze semi-circles forming a broken circle approximately 2 metres (6 ft 7 in) across, each pieced pierced by one large hole.  Both elements are welded to a bronze base.  All three elements are hollow, and were cast in London by Morris Singer.Hepworth designed the work after being diagnosed with cancer in 1966. She wanted the viewer's body to be engaged with her work, saying: "You can climb through the Divided Circle – you don't need to do it physically to experience it."Hepworth also made a series of nine maquettes about 14.5 inches (370 mm) tall, Maquette for Divided Circle, cast in polished bronze.

Category:Bronze sculptures in the United Kingdom

File:Senate House - geograph.org.uk - 1521893.jpg

File:Two Forms (Divided Circle) by Barbara Hepworth in Dulwich (6112761980).jpg

File:Two Forms (Divided Circle), Downing College, Cambridge - 2023-03-10.jpg


Two Forms (Divided Circle)

Prompt: In Two Forms (Divided Circle), how is the abstract discussed?

Two Forms (Divided Circle) (BH 477) is a bronze sculpture by Barbara Hepworth, designed in 1969. Six numbered copies were cast, plus one (0/6) retained by the sculptor. The sculpture's dimensions are 237 centimetres (93 in) by 234 centimetres (92 in) by 54 centimetres (21 in).The front of the base has "Barbara Hepworth 1969" inscribed on it followed by the number of the sculpture, as well as "Morris | Singer | FOUNDERS | LONDON", both inscribed by casting.The sculpture is considered to be one of Britain's most recognisable works.The sculpture is late work by Hepworth, created only 6 years before her death in a fire at her studio in St Ives in 1975.  It includes two vertical bronze semi-circles forming a broken circle approximately 2 metres (6 ft 7 in) across, each pieced pierced by one large hole.  Both elements are welded to a bronze base.  All three elements are hollow, and were cast in London by Morris Singer.Hepworth designed the work after being diagnosed with cancer in 1966. She wanted the viewer's body to be engaged with her work, saying: "You can climb through the Divided Circle – you don't need to do it physically to experience it."Hepworth also made a series of nine maquettes about 14.5 inches (370 mm) tall, Maquette for Divided Circle, cast in polished bronze.

Category:Bronze sculptures in the United Kingdom

File:Senate House - geograph.org.uk - 1521893.jpg

File:Two Forms (Divided Circle) by Barbara Hepworth in Dulwich (6112761980).jpg

File:Two Forms (Divided Circle), Downing College, Cambridge - 2023-03-10.jpg


Portrait of Simonetta Vespucci

Prompt: Focus on Portrait of Simonetta Vespucci and explain the abstract.

Portrait of Simonetta Vespucci is an oil on canvas painting by the Italian Renaissance painter Piero di Cosimo, dating from about 1480 or 1490. It is in the Musée Condé in Chantilly, France.Simonetta Vespucci was a Genoese noblewoman who married Marco Vespucci of Florence at the age of either 15 or 16, and who was renowned for being the greatest beauty of her age - certainly of the city of Florence. She was admired by all of Florence for her beauty, which later became a legend after her premature death in 1476 at the age of 23. Sandro Botticelli was inspired by her features in The Birth of Venus and Piero di Cosimo was a passionate admirer.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: Explain the abstract of this artwork, Portrait of Simonetta Vespucci.

Portrait of Simonetta Vespucci is an oil on canvas painting by the Italian Renaissance painter Piero di Cosimo, dating from about 1480 or 1490. It is in the Musée Condé in Chantilly, France.Simonetta Vespucci was a Genoese noblewoman who married Marco Vespucci of Florence at the age of either 15 or 16, and who was renowned for being the greatest beauty of her age - certainly of the city of Florence. She was admired by all of Florence for her beauty, which later became a legend after her premature death in 1476 at the age of 23. Sandro Botticelli was inspired by her features in The Birth of Venus and Piero di Cosimo was a passionate admirer.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: How does Portrait of Simonetta Vespucci explain its abstract?

Portrait of Simonetta Vespucci is an oil on canvas painting by the Italian Renaissance painter Piero di Cosimo, dating from about 1480 or 1490. It is in the Musée Condé in Chantilly, France.Simonetta Vespucci was a Genoese noblewoman who married Marco Vespucci of Florence at the age of either 15 or 16, and who was renowned for being the greatest beauty of her age - certainly of the city of Florence. She was admired by all of Florence for her beauty, which later became a legend after her premature death in 1476 at the age of 23. Sandro Botticelli was inspired by her features in The Birth of Venus and Piero di Cosimo was a passionate admirer.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: In Portrait of Simonetta Vespucci, how is the abstract discussed?

Portrait of Simonetta Vespucci is an oil on canvas painting by the Italian Renaissance painter Piero di Cosimo, dating from about 1480 or 1490. It is in the Musée Condé in Chantilly, France.Simonetta Vespucci was a Genoese noblewoman who married Marco Vespucci of Florence at the age of either 15 or 16, and who was renowned for being the greatest beauty of her age - certainly of the city of Florence. She was admired by all of Florence for her beauty, which later became a legend after her premature death in 1476 at the age of 23. Sandro Botticelli was inspired by her features in The Birth of Venus and Piero di Cosimo was a passionate admirer.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: Focus on Portrait of Simonetta Vespucci and explain the Style.

The subject is a young girl portrayed at half length in profile, facing left. Her breasts are bared and a small snake twines around the necklace she is wearing. In the background is an open landscape, arid on the left and lush on the right. The dark clouds are a symbol of her early death, as is the dead tree in the background. At the base of the painting is a border with an inscription that mimics carved letters, a method used in art since the Flemish painter Jan van Eyck at the beginning of the century; it reads: SIMONETTA IANUENSIS VESPUCCIA.The dark clouds contrast with the pure profile of the face and the clear complexion. It is traditionally identified as a portrait of Simonetta. Giorgio Vasari regarded her as portraying Cleopatra, because of the toplessness and the snake, which he identified with the asp with which, according to Plutarch, Cleopatra committed suicide. However, the art historian Norbert Schneider regards it as more likely that the iconography of the portrait derives from that in late Classical antiquity, in which the snake, especially biting its own tail, symbolized the cycle of time and hence rejuvenation, and was thus associated with Janus, the Roman god of the new year, and with Saturn, who became a "Father Time" figure because his Greek name, Kronos, was conflated with Chronos, meaning "time". The inscription refers to Simonetta as Januensis (of Genoa, but the variant spelling punning on Janus). The snake was also the symbol of Prudentia; in that interpretation, it would be praise for Simonetta's wisdom.An alternative suggestion is that she is presented as Proserpina, with the snake symbolizing the pagans' hope of resurrection.The bust, in 15th-century style, is slightly turned towards the spectator, so as to favour the view, and her shoulders are wrapped in a richly embroidered cloth. According to Schneider, her naked breasts would not have caused any offense to contemporary viewers. They were rather an allusion to Venus Pudica, or the "chaste" Venus, and in Paris Bordone's allegories of lovers (c. 1550) toplessness is a symbol of the wedding.Her features have a surprising purity. The forehead is high, according to the fashion of the time which included a shaved hairline. The hairstyle is that of a married woman, gathered up in braids and richly decorated with ribbons, beads, and pearls.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: Explain the Style of this artwork, Portrait of Simonetta Vespucci.

The subject is a young girl portrayed at half length in profile, facing left. Her breasts are bared and a small snake twines around the necklace she is wearing. In the background is an open landscape, arid on the left and lush on the right. The dark clouds are a symbol of her early death, as is the dead tree in the background. At the base of the painting is a border with an inscription that mimics carved letters, a method used in art since the Flemish painter Jan van Eyck at the beginning of the century; it reads: SIMONETTA IANUENSIS VESPUCCIA.The dark clouds contrast with the pure profile of the face and the clear complexion. It is traditionally identified as a portrait of Simonetta. Giorgio Vasari regarded her as portraying Cleopatra, because of the toplessness and the snake, which he identified with the asp with which, according to Plutarch, Cleopatra committed suicide. However, the art historian Norbert Schneider regards it as more likely that the iconography of the portrait derives from that in late Classical antiquity, in which the snake, especially biting its own tail, symbolized the cycle of time and hence rejuvenation, and was thus associated with Janus, the Roman god of the new year, and with Saturn, who became a "Father Time" figure because his Greek name, Kronos, was conflated with Chronos, meaning "time". The inscription refers to Simonetta as Januensis (of Genoa, but the variant spelling punning on Janus). The snake was also the symbol of Prudentia; in that interpretation, it would be praise for Simonetta's wisdom.An alternative suggestion is that she is presented as Proserpina, with the snake symbolizing the pagans' hope of resurrection.The bust, in 15th-century style, is slightly turned towards the spectator, so as to favour the view, and her shoulders are wrapped in a richly embroidered cloth. According to Schneider, her naked breasts would not have caused any offense to contemporary viewers. They were rather an allusion to Venus Pudica, or the "chaste" Venus, and in Paris Bordone's allegories of lovers (c. 1550) toplessness is a symbol of the wedding.Her features have a surprising purity. The forehead is high, according to the fashion of the time which included a shaved hairline. The hairstyle is that of a married woman, gathered up in braids and richly decorated with ribbons, beads, and pearls.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: How does Portrait of Simonetta Vespucci explain its Style?

The subject is a young girl portrayed at half length in profile, facing left. Her breasts are bared and a small snake twines around the necklace she is wearing. In the background is an open landscape, arid on the left and lush on the right. The dark clouds are a symbol of her early death, as is the dead tree in the background. At the base of the painting is a border with an inscription that mimics carved letters, a method used in art since the Flemish painter Jan van Eyck at the beginning of the century; it reads: SIMONETTA IANUENSIS VESPUCCIA.The dark clouds contrast with the pure profile of the face and the clear complexion. It is traditionally identified as a portrait of Simonetta. Giorgio Vasari regarded her as portraying Cleopatra, because of the toplessness and the snake, which he identified with the asp with which, according to Plutarch, Cleopatra committed suicide. However, the art historian Norbert Schneider regards it as more likely that the iconography of the portrait derives from that in late Classical antiquity, in which the snake, especially biting its own tail, symbolized the cycle of time and hence rejuvenation, and was thus associated with Janus, the Roman god of the new year, and with Saturn, who became a "Father Time" figure because his Greek name, Kronos, was conflated with Chronos, meaning "time". The inscription refers to Simonetta as Januensis (of Genoa, but the variant spelling punning on Janus). The snake was also the symbol of Prudentia; in that interpretation, it would be praise for Simonetta's wisdom.An alternative suggestion is that she is presented as Proserpina, with the snake symbolizing the pagans' hope of resurrection.The bust, in 15th-century style, is slightly turned towards the spectator, so as to favour the view, and her shoulders are wrapped in a richly embroidered cloth. According to Schneider, her naked breasts would not have caused any offense to contemporary viewers. They were rather an allusion to Venus Pudica, or the "chaste" Venus, and in Paris Bordone's allegories of lovers (c. 1550) toplessness is a symbol of the wedding.Her features have a surprising purity. The forehead is high, according to the fashion of the time which included a shaved hairline. The hairstyle is that of a married woman, gathered up in braids and richly decorated with ribbons, beads, and pearls.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: In Portrait of Simonetta Vespucci, how is the Style discussed?

The subject is a young girl portrayed at half length in profile, facing left. Her breasts are bared and a small snake twines around the necklace she is wearing. In the background is an open landscape, arid on the left and lush on the right. The dark clouds are a symbol of her early death, as is the dead tree in the background. At the base of the painting is a border with an inscription that mimics carved letters, a method used in art since the Flemish painter Jan van Eyck at the beginning of the century; it reads: SIMONETTA IANUENSIS VESPUCCIA.The dark clouds contrast with the pure profile of the face and the clear complexion. It is traditionally identified as a portrait of Simonetta. Giorgio Vasari regarded her as portraying Cleopatra, because of the toplessness and the snake, which he identified with the asp with which, according to Plutarch, Cleopatra committed suicide. However, the art historian Norbert Schneider regards it as more likely that the iconography of the portrait derives from that in late Classical antiquity, in which the snake, especially biting its own tail, symbolized the cycle of time and hence rejuvenation, and was thus associated with Janus, the Roman god of the new year, and with Saturn, who became a "Father Time" figure because his Greek name, Kronos, was conflated with Chronos, meaning "time". The inscription refers to Simonetta as Januensis (of Genoa, but the variant spelling punning on Janus). The snake was also the symbol of Prudentia; in that interpretation, it would be praise for Simonetta's wisdom.An alternative suggestion is that she is presented as Proserpina, with the snake symbolizing the pagans' hope of resurrection.The bust, in 15th-century style, is slightly turned towards the spectator, so as to favour the view, and her shoulders are wrapped in a richly embroidered cloth. According to Schneider, her naked breasts would not have caused any offense to contemporary viewers. They were rather an allusion to Venus Pudica, or the "chaste" Venus, and in Paris Bordone's allegories of lovers (c. 1550) toplessness is a symbol of the wedding.Her features have a surprising purity. The forehead is high, according to the fashion of the time which included a shaved hairline. The hairstyle is that of a married woman, gathered up in braids and richly decorated with ribbons, beads, and pearls.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: Focus on Portrait of Simonetta Vespucci and explain the Subject's identity.

It is uncertain how closely the painting resembles Simonetta Vespucci, particularly since if it is a portrait of her, it is posthumous, having been painted about 14 years after her death. When she died, Piero di Cosimo was only 14 years old, so it is possible that it could be a copy of a work by an earlier artist.The Musée Condé questions the identification of the subject, titling the painting Portrait of a woman, said to be of Simonetta Vespucci, and stating that the inscription of her name at the bottom of the painting may have been added at a later date.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: Explain the Subject's identity of this artwork, Portrait of Simonetta Vespucci.

It is uncertain how closely the painting resembles Simonetta Vespucci, particularly since if it is a portrait of her, it is posthumous, having been painted about 14 years after her death. When she died, Piero di Cosimo was only 14 years old, so it is possible that it could be a copy of a work by an earlier artist.The Musée Condé questions the identification of the subject, titling the painting Portrait of a woman, said to be of Simonetta Vespucci, and stating that the inscription of her name at the bottom of the painting may have been added at a later date.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: How does Portrait of Simonetta Vespucci explain its Subject's identity?

It is uncertain how closely the painting resembles Simonetta Vespucci, particularly since if it is a portrait of her, it is posthumous, having been painted about 14 years after her death. When she died, Piero di Cosimo was only 14 years old, so it is possible that it could be a copy of a work by an earlier artist.The Musée Condé questions the identification of the subject, titling the painting Portrait of a woman, said to be of Simonetta Vespucci, and stating that the inscription of her name at the bottom of the painting may have been added at a later date.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Portrait of Simonetta Vespucci

Prompt: In Portrait of Simonetta Vespucci, how is the Subject's identity discussed?

It is uncertain how closely the painting resembles Simonetta Vespucci, particularly since if it is a portrait of her, it is posthumous, having been painted about 14 years after her death. When she died, Piero di Cosimo was only 14 years old, so it is possible that it could be a copy of a work by an earlier artist.The Musée Condé questions the identification of the subject, titling the painting Portrait of a woman, said to be of Simonetta Vespucci, and stating that the inscription of her name at the bottom of the painting may have been added at a later date.

Category:Snakes in art
Category:Paintings of women
Prudence
Italian
Jan van Eyck
Musée Condé
Saturn (mythology)
Aphrodite of Knidos
Titian
Genoese
Piero di Cosimo
Prudentia
Chantilly, Oise
asp (reptile)
Cleopatra
Venus (mythology)
biting its own tail
new year
Saturn
Taschen
Simonetta Vespucci
ouroboros
Plutarch
Sandro Botticelli
Venus
toplessness
Venus Pudica
Category:Paintings in the Musée Condé
Janus
Category:1480s paintings
Giorgio Vasari
Venus of Urbino
Roman New Year
Category:Paintings by Piero di Cosimo
The Birth of Venus
Renaissance
asp
Paris Bordone
The Birth of Venus (Botticelli)
Italy
Chantilly, France
Genoa
Proserpina
Florence


Iron Horse (sculpture)

Prompt: Focus on Iron Horse (sculpture) and explain the abstract.

Iron Horse (also known as Pegasus Without Wings) is a 2-ton, 12-foot-tall iron sculpture created by Abbott Pattison. Although the sculpture was not well-received at first, as of the second decade of the twenty-first century it is visited by many tourists and University of Georgia students.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: Explain the abstract of this artwork, Iron Horse (sculpture).

Iron Horse (also known as Pegasus Without Wings) is a 2-ton, 12-foot-tall iron sculpture created by Abbott Pattison. Although the sculpture was not well-received at first, as of the second decade of the twenty-first century it is visited by many tourists and University of Georgia students.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: How does Iron Horse (sculpture) explain its abstract?

Iron Horse (also known as Pegasus Without Wings) is a 2-ton, 12-foot-tall iron sculpture created by Abbott Pattison. Although the sculpture was not well-received at first, as of the second decade of the twenty-first century it is visited by many tourists and University of Georgia students.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: In Iron Horse (sculpture), how is the abstract discussed?

Iron Horse (also known as Pegasus Without Wings) is a 2-ton, 12-foot-tall iron sculpture created by Abbott Pattison. Although the sculpture was not well-received at first, as of the second decade of the twenty-first century it is visited by many tourists and University of Georgia students.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: Focus on Iron Horse (sculpture) and explain the History.

On May 25, 1954, Abbott Pattison, then a sculptor in residence at the University of Georgia, produced the sculpture while at the university and initially placed it there outside Reed Hall. However, after the sculpture was vandalized by disgruntled students, the sculpture was secretly moved to a barn. It remained there before horticulture professor L.C. Curtis moved it to his farm near Watkinsville, Georgia in 1959. In an interview with The New York Times in 1979, Curtis claimed that he wanted the sculpture from Lamar Dodd, the chairman of the art department at the time, because "I collect conversation pieces. I'm a little bit of an eccentric." In 2011, the sculpture was vandalized once again. Afterwards, a secret group restored the horse. Later the Curtis family had the sculpture bolted to a concrete pad because periodically people would knock it over. Around 2012 the Curtis family sold approximately 650 acres of the farm to the University of Georgia, but retained a 20-foot by 20-foot section where the horse they then owned stood. Subsequently, the Curtis family offered to deed the horse and remaining 400 square feet to the university on the condition the horse stayed in place; however, the university insisted that the sculpture be returned to campus. As of January 2020 the matter had not been resolved.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: Explain the History of this artwork, Iron Horse (sculpture).

On May 25, 1954, Abbott Pattison, then a sculptor in residence at the University of Georgia, produced the sculpture while at the university and initially placed it there outside Reed Hall. However, after the sculpture was vandalized by disgruntled students, the sculpture was secretly moved to a barn. It remained there before horticulture professor L.C. Curtis moved it to his farm near Watkinsville, Georgia in 1959. In an interview with The New York Times in 1979, Curtis claimed that he wanted the sculpture from Lamar Dodd, the chairman of the art department at the time, because "I collect conversation pieces. I'm a little bit of an eccentric." In 2011, the sculpture was vandalized once again. Afterwards, a secret group restored the horse. Later the Curtis family had the sculpture bolted to a concrete pad because periodically people would knock it over. Around 2012 the Curtis family sold approximately 650 acres of the farm to the University of Georgia, but retained a 20-foot by 20-foot section where the horse they then owned stood. Subsequently, the Curtis family offered to deed the horse and remaining 400 square feet to the university on the condition the horse stayed in place; however, the university insisted that the sculpture be returned to campus. As of January 2020 the matter had not been resolved.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: How does Iron Horse (sculpture) explain its History?

On May 25, 1954, Abbott Pattison, then a sculptor in residence at the University of Georgia, produced the sculpture while at the university and initially placed it there outside Reed Hall. However, after the sculpture was vandalized by disgruntled students, the sculpture was secretly moved to a barn. It remained there before horticulture professor L.C. Curtis moved it to his farm near Watkinsville, Georgia in 1959. In an interview with The New York Times in 1979, Curtis claimed that he wanted the sculpture from Lamar Dodd, the chairman of the art department at the time, because "I collect conversation pieces. I'm a little bit of an eccentric." In 2011, the sculpture was vandalized once again. Afterwards, a secret group restored the horse. Later the Curtis family had the sculpture bolted to a concrete pad because periodically people would knock it over. Around 2012 the Curtis family sold approximately 650 acres of the farm to the University of Georgia, but retained a 20-foot by 20-foot section where the horse they then owned stood. Subsequently, the Curtis family offered to deed the horse and remaining 400 square feet to the university on the condition the horse stayed in place; however, the university insisted that the sculpture be returned to campus. As of January 2020 the matter had not been resolved.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: In Iron Horse (sculpture), how is the History discussed?

On May 25, 1954, Abbott Pattison, then a sculptor in residence at the University of Georgia, produced the sculpture while at the university and initially placed it there outside Reed Hall. However, after the sculpture was vandalized by disgruntled students, the sculpture was secretly moved to a barn. It remained there before horticulture professor L.C. Curtis moved it to his farm near Watkinsville, Georgia in 1959. In an interview with The New York Times in 1979, Curtis claimed that he wanted the sculpture from Lamar Dodd, the chairman of the art department at the time, because "I collect conversation pieces. I'm a little bit of an eccentric." In 2011, the sculpture was vandalized once again. Afterwards, a secret group restored the horse. Later the Curtis family had the sculpture bolted to a concrete pad because periodically people would knock it over. Around 2012 the Curtis family sold approximately 650 acres of the farm to the University of Georgia, but retained a 20-foot by 20-foot section where the horse they then owned stood. Subsequently, the Curtis family offered to deed the horse and remaining 400 square feet to the university on the condition the horse stayed in place; however, the university insisted that the sculpture be returned to campus. As of January 2020 the matter had not been resolved.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: Focus on Iron Horse (sculpture) and explain the Research.

In 2014, the University of Georgia named the approximately 650 acre portion of the farm it purchased the  "Iron Horse Plant Sciences Farm" in honor of the sculpture. The university uses the farm for agricultural research. In February 2017, a study created at the farm was released, which consisted of the use of drones to analyze the genetic data found in crop yields.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: Explain the Research of this artwork, Iron Horse (sculpture).

In 2014, the University of Georgia named the approximately 650 acre portion of the farm it purchased the  "Iron Horse Plant Sciences Farm" in honor of the sculpture. The university uses the farm for agricultural research. In February 2017, a study created at the farm was released, which consisted of the use of drones to analyze the genetic data found in crop yields.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: How does Iron Horse (sculpture) explain its Research?

In 2014, the University of Georgia named the approximately 650 acre portion of the farm it purchased the  "Iron Horse Plant Sciences Farm" in honor of the sculpture. The university uses the farm for agricultural research. In February 2017, a study created at the farm was released, which consisted of the use of drones to analyze the genetic data found in crop yields.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: In Iron Horse (sculpture), how is the Research discussed?

In 2014, the University of Georgia named the approximately 650 acre portion of the farm it purchased the  "Iron Horse Plant Sciences Farm" in honor of the sculpture. The university uses the farm for agricultural research. In February 2017, a study created at the farm was released, which consisted of the use of drones to analyze the genetic data found in crop yields.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: Focus on Iron Horse (sculpture) and explain the In popular culture.

The early history of the sculpture was depicted in the 1962 National Educational Television film, Pegasus Without Wings as well as the 1980 William VanDerKloot documentary, Iron Horse. The sculpture has its own TripAdvisor page.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: Explain the In popular culture of this artwork, Iron Horse (sculpture).

The early history of the sculpture was depicted in the 1962 National Educational Television film, Pegasus Without Wings as well as the 1980 William VanDerKloot documentary, Iron Horse. The sculpture has its own TripAdvisor page.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: How does Iron Horse (sculpture) explain its In popular culture?

The early history of the sculpture was depicted in the 1962 National Educational Television film, Pegasus Without Wings as well as the 1980 William VanDerKloot documentary, Iron Horse. The sculpture has its own TripAdvisor page.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Iron Horse (sculpture)

Prompt: In Iron Horse (sculpture), how is the In popular culture discussed?

The early history of the sculpture was depicted in the 1962 National Educational Television film, Pegasus Without Wings as well as the 1980 William VanDerKloot documentary, Iron Horse. The sculpture has its own TripAdvisor page.

Category:Tourist attractions in Athens, Georgia

Category:Iron sculptures in the United States

Category:Sculptures in Georgia (U.S. state)

Category:Animal sculptures in Georgia (U.S. state)

Category:Vandalized works of art in Georgia (U.S. state)

Category:1954 establishments in Georgia (U.S. state)

Category:Relocated buildings and structures in Georgia (U.S. state)

Housing at the University of Georgia#Reed Community

Category:Tourist attractions in Oconee County, Georgia


Prompt: Focus on The Death of General Montgomery in the Attack on Quebec, December 31, 1775 and explain the abstract.

The Death of General Montgomery in the Attack on Quebec, December 31, 1775 is an oil painting completed in 1786 by the American artist John Trumbull. It depicts American general Richard Montgomery at the Battle of Quebec during the invasion of Quebec. The painting is on view at the Yale University Art Gallery in New Haven, Connecticut. It is the second in Trumbull's series of national historical paintings on the  American Revolutionary War, the first being The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: Explain the abstract of this artwork, The Death of General Montgomery in the Attack on Quebec, December 31, 1775.

The Death of General Montgomery in the Attack on Quebec, December 31, 1775 is an oil painting completed in 1786 by the American artist John Trumbull. It depicts American general Richard Montgomery at the Battle of Quebec during the invasion of Quebec. The painting is on view at the Yale University Art Gallery in New Haven, Connecticut. It is the second in Trumbull's series of national historical paintings on the  American Revolutionary War, the first being The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: How does The Death of General Montgomery in the Attack on Quebec, December 31, 1775 explain its abstract?

The Death of General Montgomery in the Attack on Quebec, December 31, 1775 is an oil painting completed in 1786 by the American artist John Trumbull. It depicts American general Richard Montgomery at the Battle of Quebec during the invasion of Quebec. The painting is on view at the Yale University Art Gallery in New Haven, Connecticut. It is the second in Trumbull's series of national historical paintings on the  American Revolutionary War, the first being The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: In The Death of General Montgomery in the Attack on Quebec, December 31, 1775, how is the abstract discussed?

The Death of General Montgomery in the Attack on Quebec, December 31, 1775 is an oil painting completed in 1786 by the American artist John Trumbull. It depicts American general Richard Montgomery at the Battle of Quebec during the invasion of Quebec. The painting is on view at the Yale University Art Gallery in New Haven, Connecticut. It is the second in Trumbull's series of national historical paintings on the  American Revolutionary War, the first being The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: Focus on The Death of General Montgomery in the Attack on Quebec, December 31, 1775 and explain the History.

Trumbull went to London in 1784 to study painting with Benjamin West, historical painter to King George III. West, himself famous for such paintings as The Death of General Wolfe, suggested that Trumbull paint great events of the American Revolution. The first was The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775, started in the fall of 1785 and finished early in 1786. The second was this painting, which was finished in June 1786. Both were painted in West's London studio.In July 1786, Trumbull traveled to Paris and stayed at the Hôtel de Langeac at the invitation of Thomas Jefferson, who was then the American minister to France. Jefferson gave "his warm approbation" to these two works and assisted Trumbull with the early composition of the Declaration of Independence.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: Explain the History of this artwork, The Death of General Montgomery in the Attack on Quebec, December 31, 1775.

Trumbull went to London in 1784 to study painting with Benjamin West, historical painter to King George III. West, himself famous for such paintings as The Death of General Wolfe, suggested that Trumbull paint great events of the American Revolution. The first was The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775, started in the fall of 1785 and finished early in 1786. The second was this painting, which was finished in June 1786. Both were painted in West's London studio.In July 1786, Trumbull traveled to Paris and stayed at the Hôtel de Langeac at the invitation of Thomas Jefferson, who was then the American minister to France. Jefferson gave "his warm approbation" to these two works and assisted Trumbull with the early composition of the Declaration of Independence.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: How does The Death of General Montgomery in the Attack on Quebec, December 31, 1775 explain its History?

Trumbull went to London in 1784 to study painting with Benjamin West, historical painter to King George III. West, himself famous for such paintings as The Death of General Wolfe, suggested that Trumbull paint great events of the American Revolution. The first was The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775, started in the fall of 1785 and finished early in 1786. The second was this painting, which was finished in June 1786. Both were painted in West's London studio.In July 1786, Trumbull traveled to Paris and stayed at the Hôtel de Langeac at the invitation of Thomas Jefferson, who was then the American minister to France. Jefferson gave "his warm approbation" to these two works and assisted Trumbull with the early composition of the Declaration of Independence.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: In The Death of General Montgomery in the Attack on Quebec, December 31, 1775, how is the History discussed?

Trumbull went to London in 1784 to study painting with Benjamin West, historical painter to King George III. West, himself famous for such paintings as The Death of General Wolfe, suggested that Trumbull paint great events of the American Revolution. The first was The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775, started in the fall of 1785 and finished early in 1786. The second was this painting, which was finished in June 1786. Both were painted in West's London studio.In July 1786, Trumbull traveled to Paris and stayed at the Hôtel de Langeac at the invitation of Thomas Jefferson, who was then the American minister to France. Jefferson gave "his warm approbation" to these two works and assisted Trumbull with the early composition of the Declaration of Independence.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: Focus on The Death of General Montgomery in the Attack on Quebec, December 31, 1775 and explain the Description.

General Richard Montgomery is shown in full military uniform, illuminated in the middle of the painting, having been fatally wounded by grapeshot and supported by Matthias Ogden. In front of them are two of Montgomery's aides-de-camp, Captains Jacob Cheeseman and John MacPherson, both dead, lying in the snow, near a broken cannon. Behind Montgomery and Ogden are Lieutenant Samuel Cooper and Lieutenant Colonel Donald Campbell. To the left are Lieutenant John Humphries and Oneida chief Joseph Louis Cook (also known as "Colonel Joseph Louis"), shown with raised tomahawk. Major Return Jonathan Meigs with Captains Samuel Ward and William Hendricks are in the left foreground shown in shock at Montgomery's death. On the far right is Colonel William Thompson of the 1st Pennsylvania Regiment.Art historian Paul Staiti notes that Ogden was with Benedict Arnold attacking a different part of the city during the battle and that Aaron Burr, Montgomery's aide-de-camp, should have been depicted instead. Historian Nancy Isenberg notes evidence that  Burr had attempted to retrieve the general's body, but also notes doubts about its accuracy.Trumbull described the scene in the catalogue for his exhibited works at Yale University in 1835:Grief and surprise mark the countenances of the various characters. The earth covered with snow,–trees stripped of their foliage,–the desolation of winter, and the gloom of night, heighten the melancholy character of the scene.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: Explain the Description of this artwork, The Death of General Montgomery in the Attack on Quebec, December 31, 1775.

General Richard Montgomery is shown in full military uniform, illuminated in the middle of the painting, having been fatally wounded by grapeshot and supported by Matthias Ogden. In front of them are two of Montgomery's aides-de-camp, Captains Jacob Cheeseman and John MacPherson, both dead, lying in the snow, near a broken cannon. Behind Montgomery and Ogden are Lieutenant Samuel Cooper and Lieutenant Colonel Donald Campbell. To the left are Lieutenant John Humphries and Oneida chief Joseph Louis Cook (also known as "Colonel Joseph Louis"), shown with raised tomahawk. Major Return Jonathan Meigs with Captains Samuel Ward and William Hendricks are in the left foreground shown in shock at Montgomery's death. On the far right is Colonel William Thompson of the 1st Pennsylvania Regiment.Art historian Paul Staiti notes that Ogden was with Benedict Arnold attacking a different part of the city during the battle and that Aaron Burr, Montgomery's aide-de-camp, should have been depicted instead. Historian Nancy Isenberg notes evidence that  Burr had attempted to retrieve the general's body, but also notes doubts about its accuracy.Trumbull described the scene in the catalogue for his exhibited works at Yale University in 1835:Grief and surprise mark the countenances of the various characters. The earth covered with snow,–trees stripped of their foliage,–the desolation of winter, and the gloom of night, heighten the melancholy character of the scene.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: How does The Death of General Montgomery in the Attack on Quebec, December 31, 1775 explain its Description?

General Richard Montgomery is shown in full military uniform, illuminated in the middle of the painting, having been fatally wounded by grapeshot and supported by Matthias Ogden. In front of them are two of Montgomery's aides-de-camp, Captains Jacob Cheeseman and John MacPherson, both dead, lying in the snow, near a broken cannon. Behind Montgomery and Ogden are Lieutenant Samuel Cooper and Lieutenant Colonel Donald Campbell. To the left are Lieutenant John Humphries and Oneida chief Joseph Louis Cook (also known as "Colonel Joseph Louis"), shown with raised tomahawk. Major Return Jonathan Meigs with Captains Samuel Ward and William Hendricks are in the left foreground shown in shock at Montgomery's death. On the far right is Colonel William Thompson of the 1st Pennsylvania Regiment.Art historian Paul Staiti notes that Ogden was with Benedict Arnold attacking a different part of the city during the battle and that Aaron Burr, Montgomery's aide-de-camp, should have been depicted instead. Historian Nancy Isenberg notes evidence that  Burr had attempted to retrieve the general's body, but also notes doubts about its accuracy.Trumbull described the scene in the catalogue for his exhibited works at Yale University in 1835:Grief and surprise mark the countenances of the various characters. The earth covered with snow,–trees stripped of their foliage,–the desolation of winter, and the gloom of night, heighten the melancholy character of the scene.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: In The Death of General Montgomery in the Attack on Quebec, December 31, 1775, how is the Description discussed?

General Richard Montgomery is shown in full military uniform, illuminated in the middle of the painting, having been fatally wounded by grapeshot and supported by Matthias Ogden. In front of them are two of Montgomery's aides-de-camp, Captains Jacob Cheeseman and John MacPherson, both dead, lying in the snow, near a broken cannon. Behind Montgomery and Ogden are Lieutenant Samuel Cooper and Lieutenant Colonel Donald Campbell. To the left are Lieutenant John Humphries and Oneida chief Joseph Louis Cook (also known as "Colonel Joseph Louis"), shown with raised tomahawk. Major Return Jonathan Meigs with Captains Samuel Ward and William Hendricks are in the left foreground shown in shock at Montgomery's death. On the far right is Colonel William Thompson of the 1st Pennsylvania Regiment.Art historian Paul Staiti notes that Ogden was with Benedict Arnold attacking a different part of the city during the battle and that Aaron Burr, Montgomery's aide-de-camp, should have been depicted instead. Historian Nancy Isenberg notes evidence that  Burr had attempted to retrieve the general's body, but also notes doubts about its accuracy.Trumbull described the scene in the catalogue for his exhibited works at Yale University in 1835:Grief and surprise mark the countenances of the various characters. The earth covered with snow,–trees stripped of their foliage,–the desolation of winter, and the gloom of night, heighten the melancholy character of the scene.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: Focus on The Death of General Montgomery in the Attack on Quebec, December 31, 1775 and explain the Other versions.

A large scale version (72+1⁄2 inches (184 cm) x 108+1⁄16 inches (274.5 cm)) painted in 1834, is owned by the Wadsworth Atheneum in Hartford, Connecticut. Johan Frederik Clemens engraved a version, The Death of General Montgomery, In the Attack of Quebec, December 1775, in 1798. Christian Wilhelm Ketterlinus engraved a version, The Death of General Montgomery at Quebec, published in 1808, copied from a print by Clemens.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: Explain the Other versions of this artwork, The Death of General Montgomery in the Attack on Quebec, December 31, 1775.

A large scale version (72+1⁄2 inches (184 cm) x 108+1⁄16 inches (274.5 cm)) painted in 1834, is owned by the Wadsworth Atheneum in Hartford, Connecticut. Johan Frederik Clemens engraved a version, The Death of General Montgomery, In the Attack of Quebec, December 1775, in 1798. Christian Wilhelm Ketterlinus engraved a version, The Death of General Montgomery at Quebec, published in 1808, copied from a print by Clemens.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: How does The Death of General Montgomery in the Attack on Quebec, December 31, 1775 explain its Other versions?

A large scale version (72+1⁄2 inches (184 cm) x 108+1⁄16 inches (274.5 cm)) painted in 1834, is owned by the Wadsworth Atheneum in Hartford, Connecticut. Johan Frederik Clemens engraved a version, The Death of General Montgomery, In the Attack of Quebec, December 1775, in 1798. Christian Wilhelm Ketterlinus engraved a version, The Death of General Montgomery at Quebec, published in 1808, copied from a print by Clemens.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: In The Death of General Montgomery in the Attack on Quebec, December 31, 1775, how is the Other versions discussed?

A large scale version (72+1⁄2 inches (184 cm) x 108+1⁄16 inches (274.5 cm)) painted in 1834, is owned by the Wadsworth Atheneum in Hartford, Connecticut. Johan Frederik Clemens engraved a version, The Death of General Montgomery, In the Attack of Quebec, December 1775, in 1798. Christian Wilhelm Ketterlinus engraved a version, The Death of General Montgomery at Quebec, published in 1808, copied from a print by Clemens.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

The Death of Major Peirson, 6 January 1781

Category:1775 in the Province of Quebec (1763–1791)


Prompt: Focus on The Death of General Montgomery in the Attack on Quebec, December 31, 1775 and explain the Critical reception.

The composition of this work has been compared to West's The Death of General Wolfe, completed in 1770, that depicts the Battle of the Plains of Abraham, also at Quebec City, on September 13, 1759. Both show the death of heroic generals.The influence of two works by John Singleton Copley, The Death of the Earl of Chatham (1781) and The Death of Major Peirson, 6 January 1781 (1783), has also been noted.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

Category:1775 in the Province of Quebec (1763–1791)


Prompt: Explain the Critical reception of this artwork, The Death of General Montgomery in the Attack on Quebec, December 31, 1775.

The composition of this work has been compared to West's The Death of General Wolfe, completed in 1770, that depicts the Battle of the Plains of Abraham, also at Quebec City, on September 13, 1759. Both show the death of heroic generals.The influence of two works by John Singleton Copley, The Death of the Earl of Chatham (1781) and The Death of Major Peirson, 6 January 1781 (1783), has also been noted.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

Category:1775 in the Province of Quebec (1763–1791)


Prompt: How does The Death of General Montgomery in the Attack on Quebec, December 31, 1775 explain its Critical reception?

The composition of this work has been compared to West's The Death of General Wolfe, completed in 1770, that depicts the Battle of the Plains of Abraham, also at Quebec City, on September 13, 1759. Both show the death of heroic generals.The influence of two works by John Singleton Copley, The Death of the Earl of Chatham (1781) and The Death of Major Peirson, 6 January 1781 (1783), has also been noted.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

Category:1775 in the Province of Quebec (1763–1791)


Prompt: In The Death of General Montgomery in the Attack on Quebec, December 31, 1775, how is the Critical reception discussed?

The composition of this work has been compared to West's The Death of General Wolfe, completed in 1770, that depicts the Battle of the Plains of Abraham, also at Quebec City, on September 13, 1759. Both show the death of heroic generals.The influence of two works by John Singleton Copley, The Death of the Earl of Chatham (1781) and The Death of Major Peirson, 6 January 1781 (1783), has also been noted.

File:Self Portrait by John Trumbull circa 1802.jpeg

Category:Cultural depictions of American people

Category:Paintings in the Yale University Art Gallery

The Death of General Warren at the Battle of Bunker's Hill, June 17, 1775

Category:Cultural depictions of military officers

Category:Paintings about the American Revolution

Category:1775 in the Province of Quebec (1763–1791)


The Skater

Prompt: Focus on The Skater and explain the abstract.

The Skater is a 1782 oil on canvas portrait of Sir William Grant by the American artist Gilbert Stuart. Painted while Stuart was living in London, it was the work that first brought the artist broad recognition.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art


The Skater

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

The Skater is a 1782 oil on canvas portrait of Sir William Grant by the American artist Gilbert Stuart. Painted while Stuart was living in London, it was the work that first brought the artist broad recognition.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art


The Skater

Prompt: How does The Skater explain its abstract?

The Skater is a 1782 oil on canvas portrait of Sir William Grant by the American artist Gilbert Stuart. Painted while Stuart was living in London, it was the work that first brought the artist broad recognition.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art


The Skater

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

The Skater is a 1782 oil on canvas portrait of Sir William Grant by the American artist Gilbert Stuart. Painted while Stuart was living in London, it was the work that first brought the artist broad recognition.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art


The Skater

Prompt: Focus on The Skater and explain the Background.

In 1775 Stuart left his home in the United States for London, and by 1777 he was apprenticed there to Benjamin West. By 1781 Stuart's progress was such that West desired to sit for a portrait by the younger painter, and the resulting painting was favorably received at that year's Royal Academy exhibition. Later in 1781 Stuart was approached by Sir William Grant, a well-placed young Scotsman from Congalton in East Lothian, not far from Edinburgh, who wished to commission a full-length portrait. Stuart had not yet successfully completed a figure in full-length format—he had, in fact, been loath to accept at least two such previous commissions, and was said to have been incapable of painting a figure "beneath the fifth button". Encouraged by the recent reception of his work at the Royal Academy, he agreed to accept the commission from Grant.When he arrived to begin sitting for the portrait, Grant remarked that "on account of the excessive coldness of the weather ... the day was better suited for skating than sitting for one's portrait". Presently artist and patron left for the Serpentine in Hyde Park, where the two men took to the ice, and Grant engaged in a series of skating maneuvers that attracted an admiring crowd. When the ice beneath them began to crack, Stuart instructed Grant to take hold of his coattails, and led him safely to shore.Upon their return to the studio Stuart started to paint Grant's head directly—he never drew with a pencil—then stopped and suggested a composition inspired by their venture on the ice. Grant consented, and Stuart subsequently rendered the figure from memory.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art


The Skater

Prompt: Explain the Background of this artwork, The Skater.

In 1775 Stuart left his home in the United States for London, and by 1777 he was apprenticed there to Benjamin West. By 1781 Stuart's progress was such that West desired to sit for a portrait by the younger painter, and the resulting painting was favorably received at that year's Royal Academy exhibition. Later in 1781 Stuart was approached by Sir William Grant, a well-placed young Scotsman from Congalton in East Lothian, not far from Edinburgh, who wished to commission a full-length portrait. Stuart had not yet successfully completed a figure in full-length format—he had, in fact, been loath to accept at least two such previous commissions, and was said to have been incapable of painting a figure "beneath the fifth button". Encouraged by the recent reception of his work at the Royal Academy, he agreed to accept the commission from Grant.When he arrived to begin sitting for the portrait, Grant remarked that "on account of the excessive coldness of the weather ... the day was better suited for skating than sitting for one's portrait". Presently artist and patron left for the Serpentine in Hyde Park, where the two men took to the ice, and Grant engaged in a series of skating maneuvers that attracted an admiring crowd. When the ice beneath them began to crack, Stuart instructed Grant to take hold of his coattails, and led him safely to shore.Upon their return to the studio Stuart started to paint Grant's head directly—he never drew with a pencil—then stopped and suggested a composition inspired by their venture on the ice. Grant consented, and Stuart subsequently rendered the figure from memory.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art


The Skater

Prompt: How does The Skater explain its Background?

In 1775 Stuart left his home in the United States for London, and by 1777 he was apprenticed there to Benjamin West. By 1781 Stuart's progress was such that West desired to sit for a portrait by the younger painter, and the resulting painting was favorably received at that year's Royal Academy exhibition. Later in 1781 Stuart was approached by Sir William Grant, a well-placed young Scotsman from Congalton in East Lothian, not far from Edinburgh, who wished to commission a full-length portrait. Stuart had not yet successfully completed a figure in full-length format—he had, in fact, been loath to accept at least two such previous commissions, and was said to have been incapable of painting a figure "beneath the fifth button". Encouraged by the recent reception of his work at the Royal Academy, he agreed to accept the commission from Grant.When he arrived to begin sitting for the portrait, Grant remarked that "on account of the excessive coldness of the weather ... the day was better suited for skating than sitting for one's portrait". Presently artist and patron left for the Serpentine in Hyde Park, where the two men took to the ice, and Grant engaged in a series of skating maneuvers that attracted an admiring crowd. When the ice beneath them began to crack, Stuart instructed Grant to take hold of his coattails, and led him safely to shore.Upon their return to the studio Stuart started to paint Grant's head directly—he never drew with a pencil—then stopped and suggested a composition inspired by their venture on the ice. Grant consented, and Stuart subsequently rendered the figure from memory.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art


The Skater

Prompt: In The Skater, how is the Background discussed?

In 1775 Stuart left his home in the United States for London, and by 1777 he was apprenticed there to Benjamin West. By 1781 Stuart's progress was such that West desired to sit for a portrait by the younger painter, and the resulting painting was favorably received at that year's Royal Academy exhibition. Later in 1781 Stuart was approached by Sir William Grant, a well-placed young Scotsman from Congalton in East Lothian, not far from Edinburgh, who wished to commission a full-length portrait. Stuart had not yet successfully completed a figure in full-length format—he had, in fact, been loath to accept at least two such previous commissions, and was said to have been incapable of painting a figure "beneath the fifth button". Encouraged by the recent reception of his work at the Royal Academy, he agreed to accept the commission from Grant.When he arrived to begin sitting for the portrait, Grant remarked that "on account of the excessive coldness of the weather ... the day was better suited for skating than sitting for one's portrait". Presently artist and patron left for the Serpentine in Hyde Park, where the two men took to the ice, and Grant engaged in a series of skating maneuvers that attracted an admiring crowd. When the ice beneath them began to crack, Stuart instructed Grant to take hold of his coattails, and led him safely to shore.Upon their return to the studio Stuart started to paint Grant's head directly—he never drew with a pencil—then stopped and suggested a composition inspired by their venture on the ice. Grant consented, and Stuart subsequently rendered the figure from memory.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art


The Skater

Prompt: Focus on The Skater and explain the Description.

With his arms crossed and his head slightly lowered as he skates from right to left, Grant dominates the canvas. The dramatic impression is enhanced by a low point of view, much in the fashion of Baroque portraiture in the Grand Manner. But for his folded arms, Grant's pose derives from the Apollo Belvedere, a cast of which was present in West's studio. The black tones of a full-skirted coat, elegant smallclothes and shoes are relieved by a white cravat and cuff, a gray fur lapel, a glimpse of tan glove, and silver buckles on the hat, breeches, and shoes; the stylishly tilted hat belonged to the artist. Behind Grant is a winter landscape of restrained tones composed of distant skaters, trees, and a far-off London skyline that includes Westminster Abbey. Grant's figure divides the canvas into contrasting halves: to the right the coat's silhouette undulates gently, and a large bare tree anchors the composition, while the left side, opening onto the gestures of skaters in motion, is activated by the shape of his protruding elbow and the jagged contour of coat. Beyond the large tree the recession of the distant treeline creates a movement from right to left which is echoed by the disposition of the secondary figures. The overall handling evidences a lightness of touch and a success in integrating figure and landscape that suggests the open-air portraits of Thomas Gainsborough.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art


The Skater

Prompt: Explain the Description of this artwork, The Skater.

With his arms crossed and his head slightly lowered as he skates from right to left, Grant dominates the canvas. The dramatic impression is enhanced by a low point of view, much in the fashion of Baroque portraiture in the Grand Manner. But for his folded arms, Grant's pose derives from the Apollo Belvedere, a cast of which was present in West's studio. The black tones of a full-skirted coat, elegant smallclothes and shoes are relieved by a white cravat and cuff, a gray fur lapel, a glimpse of tan glove, and silver buckles on the hat, breeches, and shoes; the stylishly tilted hat belonged to the artist. Behind Grant is a winter landscape of restrained tones composed of distant skaters, trees, and a far-off London skyline that includes Westminster Abbey. Grant's figure divides the canvas into contrasting halves: to the right the coat's silhouette undulates gently, and a large bare tree anchors the composition, while the left side, opening onto the gestures of skaters in motion, is activated by the shape of his protruding elbow and the jagged contour of coat. Beyond the large tree the recession of the distant treeline creates a movement from right to left which is echoed by the disposition of the secondary figures. The overall handling evidences a lightness of touch and a success in integrating figure and landscape that suggests the open-air portraits of Thomas Gainsborough.

File:Reverend Robert Walker (1755 - 1808) Skating on Duddingston Loch.jpg

Category:Paintings in the National Gallery of Art