Coming South

Prompt: Explain the abstract of this artwork, Coming South.

Coming South is a 1886 painting by the Australian artist Tom Roberts. The painting depicts migrants coming to Australia from Europe aboard a steamship. Roberts based the painting on sketches he had made when returning to Australia aboard the SS Lusitania in 1885 after four years abroad in Europe.Historian Humphrey McQueen describes Coming South as one of Roberts' seven best-known paintings. The National Gallery of Victoria describes it as "a definitive image of the migrant experience" and "Roberts's first exploration of one of the great themes of Australian life".The painting was acquired by the National Gallery of Victoria in 1967.

Category:Paintings in the National Gallery of Victoria


Coming South

Prompt: How does Coming South explain its abstract?

Coming South is a 1886 painting by the Australian artist Tom Roberts. The painting depicts migrants coming to Australia from Europe aboard a steamship. Roberts based the painting on sketches he had made when returning to Australia aboard the SS Lusitania in 1885 after four years abroad in Europe.Historian Humphrey McQueen describes Coming South as one of Roberts' seven best-known paintings. The National Gallery of Victoria describes it as "a definitive image of the migrant experience" and "Roberts's first exploration of one of the great themes of Australian life".The painting was acquired by the National Gallery of Victoria in 1967.

Category:Paintings in the National Gallery of Victoria


Coming South

Prompt: In Coming South, how is the abstract discussed?

Coming South is a 1886 painting by the Australian artist Tom Roberts. The painting depicts migrants coming to Australia from Europe aboard a steamship. Roberts based the painting on sketches he had made when returning to Australia aboard the SS Lusitania in 1885 after four years abroad in Europe.Historian Humphrey McQueen describes Coming South as one of Roberts' seven best-known paintings. The National Gallery of Victoria describes it as "a definitive image of the migrant experience" and "Roberts's first exploration of one of the great themes of Australian life".The painting was acquired by the National Gallery of Victoria in 1967.

Category:Paintings in the National Gallery of Victoria


Prompt: Focus on Statue of Christopher Columbus (Buffalo, New York) and explain the abstract.

A statue of Christopher Columbus by the sculptor Giovanni Polizzi formerly stood in Columbus Park, in Buffalo, New York.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: Explain the abstract of this artwork, Statue of Christopher Columbus (Buffalo, New York).

A statue of Christopher Columbus by the sculptor Giovanni Polizzi formerly stood in Columbus Park, in Buffalo, New York.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: How does Statue of Christopher Columbus (Buffalo, New York) explain its abstract?

A statue of Christopher Columbus by the sculptor Giovanni Polizzi formerly stood in Columbus Park, in Buffalo, New York.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: In Statue of Christopher Columbus (Buffalo, New York), how is the abstract discussed?

A statue of Christopher Columbus by the sculptor Giovanni Polizzi formerly stood in Columbus Park, in Buffalo, New York.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: Focus on Statue of Christopher Columbus (Buffalo, New York) and explain the History.

The statue was originally installed at Columbus Park in 1952. The park's statue of Columbus has been vandalized multiple times since 2015. In 2017 a petition drive was started asking the city to rename the park and remove the statue.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: Explain the History of this artwork, Statue of Christopher Columbus (Buffalo, New York).

The statue was originally installed at Columbus Park in 1952. The park's statue of Columbus has been vandalized multiple times since 2015. In 2017 a petition drive was started asking the city to rename the park and remove the statue.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: How does Statue of Christopher Columbus (Buffalo, New York) explain its History?

The statue was originally installed at Columbus Park in 1952. The park's statue of Columbus has been vandalized multiple times since 2015. In 2017 a petition drive was started asking the city to rename the park and remove the statue.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: In Statue of Christopher Columbus (Buffalo, New York), how is the History discussed?

The statue was originally installed at Columbus Park in 1952. The park's statue of Columbus has been vandalized multiple times since 2015. In 2017 a petition drive was started asking the city to rename the park and remove the statue.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: In the context of Statue of Christopher Columbus (Buffalo, New York), explain the Removal and the History.

On July 10, 2020, the statue of Columbus was removed. The same day, city officials also stated that Columbus Park would be renamed.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: Explain the Removal about the History of this artwork, Statue of Christopher Columbus (Buffalo, New York).

On July 10, 2020, the statue of Columbus was removed. The same day, city officials also stated that Columbus Park would be renamed.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: In Statue of Christopher Columbus (Buffalo, New York), how is the Removal of the History explained?

On July 10, 2020, the statue of Columbus was removed. The same day, city officials also stated that Columbus Park would be renamed.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Prompt: Describe the characteristics of the Removal in Statue of Christopher Columbus (Buffalo, New York)'s History.

On July 10, 2020, the statue of Columbus was removed. The same day, city officials also stated that Columbus Park would be renamed.

List of monuments and memorials removed during the George Floyd protests

Category:Outdoor sculptures in New York (state)

Category:Monuments and memorials in New York (state)

Category:Buildings and structures in Buffalo, New York

Category:Sculptures of men in New York (state)

List of monuments and memorials to Christopher Columbus

Category:Monuments and memorials to Christopher Columbus

Category:Statues of Christopher Columbus

Category:Vandalized works of art in New York (state)


Transparent Horizon

Prompt: Focus on Transparent Horizon and explain the abstract.

Transparent Horizon is a 1975 black Cor-ten steel sculpture by Louise Nevelson, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The artwork was among the first funded by MIT's "Percent-For-Art" program, which allocates $500,000 for art commissions for new architectural renovations on campus. The sculpture is an amalgam of two of Nevelson's previous works, Tropical Tree IV and Black Flower Series IV.  The sculpture has been the target of vandalism.

Category:Vandalized works of art in Massachusetts

Category:Massachusetts Institute of Technology campus

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Steel sculptures in Massachusetts


Transparent Horizon

Prompt: Explain the abstract of this artwork, Transparent Horizon.

Transparent Horizon is a 1975 black Cor-ten steel sculpture by Louise Nevelson, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The artwork was among the first funded by MIT's "Percent-For-Art" program, which allocates $500,000 for art commissions for new architectural renovations on campus. The sculpture is an amalgam of two of Nevelson's previous works, Tropical Tree IV and Black Flower Series IV.  The sculpture has been the target of vandalism.

Category:Vandalized works of art in Massachusetts

Category:Massachusetts Institute of Technology campus

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Steel sculptures in Massachusetts


Transparent Horizon

Prompt: How does Transparent Horizon explain its abstract?

Transparent Horizon is a 1975 black Cor-ten steel sculpture by Louise Nevelson, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The artwork was among the first funded by MIT's "Percent-For-Art" program, which allocates $500,000 for art commissions for new architectural renovations on campus. The sculpture is an amalgam of two of Nevelson's previous works, Tropical Tree IV and Black Flower Series IV.  The sculpture has been the target of vandalism.

Category:Vandalized works of art in Massachusetts

Category:Massachusetts Institute of Technology campus

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Steel sculptures in Massachusetts


Transparent Horizon

Prompt: In Transparent Horizon, how is the abstract discussed?

Transparent Horizon is a 1975 black Cor-ten steel sculpture by Louise Nevelson, installed on the Massachusetts Institute of Technology campus, in Cambridge, Massachusetts, United States. The artwork was among the first funded by MIT's "Percent-For-Art" program, which allocates $500,000 for art commissions for new architectural renovations on campus. The sculpture is an amalgam of two of Nevelson's previous works, Tropical Tree IV and Black Flower Series IV.  The sculpture has been the target of vandalism.

Category:Vandalized works of art in Massachusetts

Category:Massachusetts Institute of Technology campus

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Steel sculptures in Massachusetts


A Break Away!

Prompt: Focus on A Break Away! and explain the abstract.

A Break Away! is an 1891 painting by Australian artist Tom Roberts.

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: Explain the abstract of this artwork, A Break Away!.

A Break Away! is an 1891 painting by Australian artist Tom Roberts.

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: How does A Break Away! explain its abstract?

A Break Away! is an 1891 painting by Australian artist Tom Roberts.

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: In A Break Away!, how is the abstract discussed?

A Break Away! is an 1891 painting by Australian artist Tom Roberts.

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: Focus on A Break Away! and explain the Description.

The painting depicts a mob of thirsty sheep stampeding towards a dam. A drover on horseback is attempting to turn the mob before they drown or crush each other in their desire to drink. The painting, an "icon of Australian art", is part of a series of works by Roberts that "captures what was an emerging spirit of national identity."Roberts painted the work at Corowa. The painting depicts a time of drought, with little grass and the soil kicked up as dust. The work itself is a reflection on the pioneering days of the pastoral industry, which were coming to an end by the 1890s. Arthur Streeton recalled years later: "To paint that masterpiece [A break away!], Roberts travelled for six weeks with the drovers."

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: Explain the Description of this artwork, A Break Away!.

The painting depicts a mob of thirsty sheep stampeding towards a dam. A drover on horseback is attempting to turn the mob before they drown or crush each other in their desire to drink. The painting, an "icon of Australian art", is part of a series of works by Roberts that "captures what was an emerging spirit of national identity."Roberts painted the work at Corowa. The painting depicts a time of drought, with little grass and the soil kicked up as dust. The work itself is a reflection on the pioneering days of the pastoral industry, which were coming to an end by the 1890s. Arthur Streeton recalled years later: "To paint that masterpiece [A break away!], Roberts travelled for six weeks with the drovers."

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: How does A Break Away! explain its Description?

The painting depicts a mob of thirsty sheep stampeding towards a dam. A drover on horseback is attempting to turn the mob before they drown or crush each other in their desire to drink. The painting, an "icon of Australian art", is part of a series of works by Roberts that "captures what was an emerging spirit of national identity."Roberts painted the work at Corowa. The painting depicts a time of drought, with little grass and the soil kicked up as dust. The work itself is a reflection on the pioneering days of the pastoral industry, which were coming to an end by the 1890s. Arthur Streeton recalled years later: "To paint that masterpiece [A break away!], Roberts travelled for six weeks with the drovers."

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: In A Break Away!, how is the Description discussed?

The painting depicts a mob of thirsty sheep stampeding towards a dam. A drover on horseback is attempting to turn the mob before they drown or crush each other in their desire to drink. The painting, an "icon of Australian art", is part of a series of works by Roberts that "captures what was an emerging spirit of national identity."Roberts painted the work at Corowa. The painting depicts a time of drought, with little grass and the soil kicked up as dust. The work itself is a reflection on the pioneering days of the pastoral industry, which were coming to an end by the 1890s. Arthur Streeton recalled years later: "To paint that masterpiece [A break away!], Roberts travelled for six weeks with the drovers."

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: Focus on A Break Away! and explain the Exhibition history and provenance.

The painting formed part of the 1898 Exhibition of Australian Art in London, the first major exhibition of Australian art internationally.A break away! is now part of the collection of the Art Gallery of South Australia having been purchased in 1899. It was included in Quintessence Editions Ltd.'s 2007 book 1001 Paintings You Must See Before You Die.

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: Explain the Exhibition history and provenance of this artwork, A Break Away!.

The painting formed part of the 1898 Exhibition of Australian Art in London, the first major exhibition of Australian art internationally.A break away! is now part of the collection of the Art Gallery of South Australia having been purchased in 1899. It was included in Quintessence Editions Ltd.'s 2007 book 1001 Paintings You Must See Before You Die.

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: How does A Break Away! explain its Exhibition history and provenance?

The painting formed part of the 1898 Exhibition of Australian Art in London, the first major exhibition of Australian art internationally.A break away! is now part of the collection of the Art Gallery of South Australia having been purchased in 1899. It was included in Quintessence Editions Ltd.'s 2007 book 1001 Paintings You Must See Before You Die.

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


A Break Away!

Prompt: In A Break Away!, how is the Exhibition history and provenance discussed?

The painting formed part of the 1898 Exhibition of Australian Art in London, the first major exhibition of Australian art internationally.A break away! is now part of the collection of the Art Gallery of South Australia having been purchased in 1899. It was included in Quintessence Editions Ltd.'s 2007 book 1001 Paintings You Must See Before You Die.

Roberts' 1891 painting of Collendina Station, Corowa, where he began work on ''A break away!''

Category:Collection of the Art Gallery of South Australia


Mountains at Collioure

Prompt: Focus on Mountains at Collioure and explain the abstract.

Mountains at Collioure is a 1905 painting by French painter André Derain. It was made while he was working with Henri Matisse at the fishing port of Collioure, in France. It has been in the National Gallery of Art in Washington, D.C. since John Hay Whitney, the previous owner, died in 1982. The work features long strokes of colours such as bright green, blue, mauve and pink. The entire scene is under a jade and turquoise sky.

Category:Paintings in the National Gallery of Art

United States Ambassador to the United Kingdom


Mountains at Collioure

Prompt: Explain the abstract of this artwork, Mountains at Collioure.

Mountains at Collioure is a 1905 painting by French painter André Derain. It was made while he was working with Henri Matisse at the fishing port of Collioure, in France. It has been in the National Gallery of Art in Washington, D.C. since John Hay Whitney, the previous owner, died in 1982. The work features long strokes of colours such as bright green, blue, mauve and pink. The entire scene is under a jade and turquoise sky.

Category:Paintings in the National Gallery of Art

United States Ambassador to the United Kingdom


Mountains at Collioure

Prompt: How does Mountains at Collioure explain its abstract?

Mountains at Collioure is a 1905 painting by French painter André Derain. It was made while he was working with Henri Matisse at the fishing port of Collioure, in France. It has been in the National Gallery of Art in Washington, D.C. since John Hay Whitney, the previous owner, died in 1982. The work features long strokes of colours such as bright green, blue, mauve and pink. The entire scene is under a jade and turquoise sky.

Category:Paintings in the National Gallery of Art

United States Ambassador to the United Kingdom


Mountains at Collioure

Prompt: In Mountains at Collioure, how is the abstract discussed?

Mountains at Collioure is a 1905 painting by French painter André Derain. It was made while he was working with Henri Matisse at the fishing port of Collioure, in France. It has been in the National Gallery of Art in Washington, D.C. since John Hay Whitney, the previous owner, died in 1982. The work features long strokes of colours such as bright green, blue, mauve and pink. The entire scene is under a jade and turquoise sky.

Category:Paintings in the National Gallery of Art

United States Ambassador to the United Kingdom


Mountains at Collioure

Prompt: Focus on Mountains at Collioure and explain the Description.

Mountains at Collioure was painted in mid-1905, while Derain was working with Henri Matisse, after being influenced by Vincent van Gogh.  It is an example of Fauvist art. The trees and grass were painted with long strokes of colour. The colour which was used is known to have been less emotional than the colour which Van Gogh used. Mattise had joined Derain to paint landscapes at the fishing port of Collioure, at the bottom of the Pyrenees. The artists worked together producing artwork. The field in the foreground, the trees and the foothills are created in large strokes of bright green, blue, mauve and pink; which suggest a highly "charged" encounter with the natural world. The mountains are conceived as flat areas of colour. The whole scene is under a sky of jade and turquoise. In the painting the colour is less emotional than their past works and less imperative. According to Mattise, "Fauve art isn't everything, but it is the foundation of everything." Since 1982 it has been located in the National Gallery of Art after John Hay Whitney, a U.S. Ambassador to the United Kingdom, a publisher of the New York Herald Tribune and an art collector, died earlier that year.

Category:Paintings in the National Gallery of Art

United States Ambassador to the United Kingdom


Mountains at Collioure

Prompt: Explain the Description of this artwork, Mountains at Collioure.

Mountains at Collioure was painted in mid-1905, while Derain was working with Henri Matisse, after being influenced by Vincent van Gogh.  It is an example of Fauvist art. The trees and grass were painted with long strokes of colour. The colour which was used is known to have been less emotional than the colour which Van Gogh used. Mattise had joined Derain to paint landscapes at the fishing port of Collioure, at the bottom of the Pyrenees. The artists worked together producing artwork. The field in the foreground, the trees and the foothills are created in large strokes of bright green, blue, mauve and pink; which suggest a highly "charged" encounter with the natural world. The mountains are conceived as flat areas of colour. The whole scene is under a sky of jade and turquoise. In the painting the colour is less emotional than their past works and less imperative. According to Mattise, "Fauve art isn't everything, but it is the foundation of everything." Since 1982 it has been located in the National Gallery of Art after John Hay Whitney, a U.S. Ambassador to the United Kingdom, a publisher of the New York Herald Tribune and an art collector, died earlier that year.

Category:Paintings in the National Gallery of Art

United States Ambassador to the United Kingdom


Mountains at Collioure

Prompt: How does Mountains at Collioure explain its Description?

Mountains at Collioure was painted in mid-1905, while Derain was working with Henri Matisse, after being influenced by Vincent van Gogh.  It is an example of Fauvist art. The trees and grass were painted with long strokes of colour. The colour which was used is known to have been less emotional than the colour which Van Gogh used. Mattise had joined Derain to paint landscapes at the fishing port of Collioure, at the bottom of the Pyrenees. The artists worked together producing artwork. The field in the foreground, the trees and the foothills are created in large strokes of bright green, blue, mauve and pink; which suggest a highly "charged" encounter with the natural world. The mountains are conceived as flat areas of colour. The whole scene is under a sky of jade and turquoise. In the painting the colour is less emotional than their past works and less imperative. According to Mattise, "Fauve art isn't everything, but it is the foundation of everything." Since 1982 it has been located in the National Gallery of Art after John Hay Whitney, a U.S. Ambassador to the United Kingdom, a publisher of the New York Herald Tribune and an art collector, died earlier that year.

Category:Paintings in the National Gallery of Art

United States Ambassador to the United Kingdom


Mountains at Collioure

Prompt: In Mountains at Collioure, how is the Description discussed?

Mountains at Collioure was painted in mid-1905, while Derain was working with Henri Matisse, after being influenced by Vincent van Gogh.  It is an example of Fauvist art. The trees and grass were painted with long strokes of colour. The colour which was used is known to have been less emotional than the colour which Van Gogh used. Mattise had joined Derain to paint landscapes at the fishing port of Collioure, at the bottom of the Pyrenees. The artists worked together producing artwork. The field in the foreground, the trees and the foothills are created in large strokes of bright green, blue, mauve and pink; which suggest a highly "charged" encounter with the natural world. The mountains are conceived as flat areas of colour. The whole scene is under a sky of jade and turquoise. In the painting the colour is less emotional than their past works and less imperative. According to Mattise, "Fauve art isn't everything, but it is the foundation of everything." Since 1982 it has been located in the National Gallery of Art after John Hay Whitney, a U.S. Ambassador to the United Kingdom, a publisher of the New York Herald Tribune and an art collector, died earlier that year.

Category:Paintings in the National Gallery of Art

United States Ambassador to the United Kingdom


Tokugawa Ieyasu's Clock

Prompt: Focus on Tokugawa Ieyasu's Clock and explain the abstract.

Tokugawa Ieyasu's Clock (Japanese: 徳川家康の洋時計, Tokugawa Ieyasu no yōdokei) is a clock which was given to Shogun Tokugawa Ieyasu of Japan by King Philip III of Spain in 1611. Built in 1573 or 1581, the clock is the oldest surviving clock in Japan and one of the few surviving clocks in the world of its era. Since Ieyasu's death, the clock has been stored at Kunōzan Tōshō-gū, and has since been designated as an Important Cultural Property with application to designate it as a National Treasure in Japan under consideration. A 2012 examination by the British Museum concluded that the clock is likely the only clock in the world of its era in which almost all of the internal parts remain as they were originally made.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Explain the abstract of this artwork, Tokugawa Ieyasu's Clock.

Tokugawa Ieyasu's Clock (Japanese: 徳川家康の洋時計, Tokugawa Ieyasu no yōdokei) is a clock which was given to Shogun Tokugawa Ieyasu of Japan by King Philip III of Spain in 1611. Built in 1573 or 1581, the clock is the oldest surviving clock in Japan and one of the few surviving clocks in the world of its era. Since Ieyasu's death, the clock has been stored at Kunōzan Tōshō-gū, and has since been designated as an Important Cultural Property with application to designate it as a National Treasure in Japan under consideration. A 2012 examination by the British Museum concluded that the clock is likely the only clock in the world of its era in which almost all of the internal parts remain as they were originally made.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: How does Tokugawa Ieyasu's Clock explain its abstract?

Tokugawa Ieyasu's Clock (Japanese: 徳川家康の洋時計, Tokugawa Ieyasu no yōdokei) is a clock which was given to Shogun Tokugawa Ieyasu of Japan by King Philip III of Spain in 1611. Built in 1573 or 1581, the clock is the oldest surviving clock in Japan and one of the few surviving clocks in the world of its era. Since Ieyasu's death, the clock has been stored at Kunōzan Tōshō-gū, and has since been designated as an Important Cultural Property with application to designate it as a National Treasure in Japan under consideration. A 2012 examination by the British Museum concluded that the clock is likely the only clock in the world of its era in which almost all of the internal parts remain as they were originally made.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In Tokugawa Ieyasu's Clock, how is the abstract discussed?

Tokugawa Ieyasu's Clock (Japanese: 徳川家康の洋時計, Tokugawa Ieyasu no yōdokei) is a clock which was given to Shogun Tokugawa Ieyasu of Japan by King Philip III of Spain in 1611. Built in 1573 or 1581, the clock is the oldest surviving clock in Japan and one of the few surviving clocks in the world of its era. Since Ieyasu's death, the clock has been stored at Kunōzan Tōshō-gū, and has since been designated as an Important Cultural Property with application to designate it as a National Treasure in Japan under consideration. A 2012 examination by the British Museum concluded that the clock is likely the only clock in the world of its era in which almost all of the internal parts remain as they were originally made.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In the context of Tokugawa Ieyasu's Clock, explain the Manufacturing and the History.

The clock is a gilt-bronze spring-loaded clock which, according to the nameplate on the clock, was manufactured in Madrid, Spain, in 1581 by Hans de Evalo. De Evalo was a Flemish man born in Brussels and was a master clockmaker to King Philip II from 1580 until his death in 1598. The Spanish royalty had been avid collectors of clocks since the reign of Charles V, and the oldest surviving clock in their collection was also made by de Evalo. Another inscription was later discovered on the clock, naming Nicolaus de Troestenberch as its maker. Nicolaus de Troestenberch was a royal clockmaker to Charles V, and was the son of Jean van Troestenberch, royal clockmaker to Philip I of Castile in the early 16th century.Nothing is known about the clock from the time it was made to the time it was presented to Tokugawa Ieyasu.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Explain the Manufacturing about the History of this artwork, Tokugawa Ieyasu's Clock.

The clock is a gilt-bronze spring-loaded clock which, according to the nameplate on the clock, was manufactured in Madrid, Spain, in 1581 by Hans de Evalo. De Evalo was a Flemish man born in Brussels and was a master clockmaker to King Philip II from 1580 until his death in 1598. The Spanish royalty had been avid collectors of clocks since the reign of Charles V, and the oldest surviving clock in their collection was also made by de Evalo. Another inscription was later discovered on the clock, naming Nicolaus de Troestenberch as its maker. Nicolaus de Troestenberch was a royal clockmaker to Charles V, and was the son of Jean van Troestenberch, royal clockmaker to Philip I of Castile in the early 16th century.Nothing is known about the clock from the time it was made to the time it was presented to Tokugawa Ieyasu.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In Tokugawa Ieyasu's Clock, how is the Manufacturing of the History explained?

The clock is a gilt-bronze spring-loaded clock which, according to the nameplate on the clock, was manufactured in Madrid, Spain, in 1581 by Hans de Evalo. De Evalo was a Flemish man born in Brussels and was a master clockmaker to King Philip II from 1580 until his death in 1598. The Spanish royalty had been avid collectors of clocks since the reign of Charles V, and the oldest surviving clock in their collection was also made by de Evalo. Another inscription was later discovered on the clock, naming Nicolaus de Troestenberch as its maker. Nicolaus de Troestenberch was a royal clockmaker to Charles V, and was the son of Jean van Troestenberch, royal clockmaker to Philip I of Castile in the early 16th century.Nothing is known about the clock from the time it was made to the time it was presented to Tokugawa Ieyasu.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Describe the characteristics of the Manufacturing in Tokugawa Ieyasu's Clock's History.

The clock is a gilt-bronze spring-loaded clock which, according to the nameplate on the clock, was manufactured in Madrid, Spain, in 1581 by Hans de Evalo. De Evalo was a Flemish man born in Brussels and was a master clockmaker to King Philip II from 1580 until his death in 1598. The Spanish royalty had been avid collectors of clocks since the reign of Charles V, and the oldest surviving clock in their collection was also made by de Evalo. Another inscription was later discovered on the clock, naming Nicolaus de Troestenberch as its maker. Nicolaus de Troestenberch was a royal clockmaker to Charles V, and was the son of Jean van Troestenberch, royal clockmaker to Philip I of Castile in the early 16th century.Nothing is known about the clock from the time it was made to the time it was presented to Tokugawa Ieyasu.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In the context of Tokugawa Ieyasu's Clock, explain the Arrival in Japan and the History.

On September 30, 1609, Philippine Governor Rodrigo de Vivero, 1st Count of Valle de Orizaba was on board a ship which was heading from the Philippines to Mexico (New Spain) when it was caught in a storm near Japan and drifted ashore in the village of Iwawada in Ōtaki Domain, Kazusa Province (present-day Onjuku, Chiba Prefecture). Local villagers succeeded in rescuing 317 of the 373 sailors on board. Local divers are said to have rescued drowning sailors from the sea and revived them with body heat. The crew was later sheltered at the Ōtaki Castle and the Iwaida Grand Shrine at the discretion of Honda Tadatomo, lord of Ōtaki Castle.Tokugawa Ieyasu sent his diplomatic advisor and translator Miura Anjin (William Adams) to Iwawada and ordered him to protect de Vivero and his crew. Honda Tadatomo met with de Vivero, and gave him kimono, tachi swords, cows, chickens, fruit, and sake. Tadatomo provided the ship's crew with food for 40 days until a decision was made on their treatment.Rodrigo de Vivero met Tokugawa Hidetada in Edo and Tokugawa Ieyasu in Sunpu. Ieyasu, as temporary ambassador to Spain, held discussions on trade, and offered to provide de Vivero and others with Western-style ships and travel expenses on the condition that they send mining engineers from Mexico. Ieyasu ordered Miura Anjin to build two Western-style ships and ordered Tanaka Shōsuke and 21 other Japanese merchants to transport de Vivero and his party to Mexico on these ships. The ships set sail from Uraga on June 13, 1610 and arrived in Mexico on October 23.In May 1611, King Philip III of Spain and Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga, the Viceroy of New Spain, dispatched Commander Sebastián Vizcaíno to Japan. Vizcaíno's mission was to thank Ieyasu for the rescue, discover the "gold and silver islands", mythical islands rich in silver and gold believed to be near Japan, to return the gold coins on loan from Ieyasu, and to send Japanese merchants back home. Vizcaíno met Ieyasu in Sunpu in July 1611, delivering gifts and a letter from the king and viceroy to Ieyasu. Among these gifts was a Western-style clock. Ieyasu's foreign advisor Ishin Sūden recorded "one clock" in the gift catalog in Ikoku Nikki.Ieyasu liked the clock very much and displayed it in his room, but did not use it as a clock because it differed from the Japanese calendar system.The clock was never used or its parts replaced, and it was stored as a sacred treasure at Kunōzan Tōshō-gū in present-day Shizuoka, Shizuoka Prefecture after Ieyasu's death in 1616.

Category:Important Cultural Properties of Japan


Tokugawa Ieyasu's Clock

Prompt: Explain the Arrival in Japan about the History of this artwork, Tokugawa Ieyasu's Clock.

On September 30, 1609, Philippine Governor Rodrigo de Vivero, 1st Count of Valle de Orizaba was on board a ship which was heading from the Philippines to Mexico (New Spain) when it was caught in a storm near Japan and drifted ashore in the village of Iwawada in Ōtaki Domain, Kazusa Province (present-day Onjuku, Chiba Prefecture). Local villagers succeeded in rescuing 317 of the 373 sailors on board. Local divers are said to have rescued drowning sailors from the sea and revived them with body heat. The crew was later sheltered at the Ōtaki Castle and the Iwaida Grand Shrine at the discretion of Honda Tadatomo, lord of Ōtaki Castle.Tokugawa Ieyasu sent his diplomatic advisor and translator Miura Anjin (William Adams) to Iwawada and ordered him to protect de Vivero and his crew. Honda Tadatomo met with de Vivero, and gave him kimono, tachi swords, cows, chickens, fruit, and sake. Tadatomo provided the ship's crew with food for 40 days until a decision was made on their treatment.Rodrigo de Vivero met Tokugawa Hidetada in Edo and Tokugawa Ieyasu in Sunpu. Ieyasu, as temporary ambassador to Spain, held discussions on trade, and offered to provide de Vivero and others with Western-style ships and travel expenses on the condition that they send mining engineers from Mexico. Ieyasu ordered Miura Anjin to build two Western-style ships and ordered Tanaka Shōsuke and 21 other Japanese merchants to transport de Vivero and his party to Mexico on these ships. The ships set sail from Uraga on June 13, 1610 and arrived in Mexico on October 23.In May 1611, King Philip III of Spain and Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga, the Viceroy of New Spain, dispatched Commander Sebastián Vizcaíno to Japan. Vizcaíno's mission was to thank Ieyasu for the rescue, discover the "gold and silver islands", mythical islands rich in silver and gold believed to be near Japan, to return the gold coins on loan from Ieyasu, and to send Japanese merchants back home. Vizcaíno met Ieyasu in Sunpu in July 1611, delivering gifts and a letter from the king and viceroy to Ieyasu. Among these gifts was a Western-style clock. Ieyasu's foreign advisor Ishin Sūden recorded "one clock" in the gift catalog in Ikoku Nikki.Ieyasu liked the clock very much and displayed it in his room, but did not use it as a clock because it differed from the Japanese calendar system.The clock was never used or its parts replaced, and it was stored as a sacred treasure at Kunōzan Tōshō-gū in present-day Shizuoka, Shizuoka Prefecture after Ieyasu's death in 1616.

Category:Important Cultural Properties of Japan


Tokugawa Ieyasu's Clock

Prompt: In Tokugawa Ieyasu's Clock, how is the Arrival in Japan of the History explained?

On September 30, 1609, Philippine Governor Rodrigo de Vivero, 1st Count of Valle de Orizaba was on board a ship which was heading from the Philippines to Mexico (New Spain) when it was caught in a storm near Japan and drifted ashore in the village of Iwawada in Ōtaki Domain, Kazusa Province (present-day Onjuku, Chiba Prefecture). Local villagers succeeded in rescuing 317 of the 373 sailors on board. Local divers are said to have rescued drowning sailors from the sea and revived them with body heat. The crew was later sheltered at the Ōtaki Castle and the Iwaida Grand Shrine at the discretion of Honda Tadatomo, lord of Ōtaki Castle.Tokugawa Ieyasu sent his diplomatic advisor and translator Miura Anjin (William Adams) to Iwawada and ordered him to protect de Vivero and his crew. Honda Tadatomo met with de Vivero, and gave him kimono, tachi swords, cows, chickens, fruit, and sake. Tadatomo provided the ship's crew with food for 40 days until a decision was made on their treatment.Rodrigo de Vivero met Tokugawa Hidetada in Edo and Tokugawa Ieyasu in Sunpu. Ieyasu, as temporary ambassador to Spain, held discussions on trade, and offered to provide de Vivero and others with Western-style ships and travel expenses on the condition that they send mining engineers from Mexico. Ieyasu ordered Miura Anjin to build two Western-style ships and ordered Tanaka Shōsuke and 21 other Japanese merchants to transport de Vivero and his party to Mexico on these ships. The ships set sail from Uraga on June 13, 1610 and arrived in Mexico on October 23.In May 1611, King Philip III of Spain and Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga, the Viceroy of New Spain, dispatched Commander Sebastián Vizcaíno to Japan. Vizcaíno's mission was to thank Ieyasu for the rescue, discover the "gold and silver islands", mythical islands rich in silver and gold believed to be near Japan, to return the gold coins on loan from Ieyasu, and to send Japanese merchants back home. Vizcaíno met Ieyasu in Sunpu in July 1611, delivering gifts and a letter from the king and viceroy to Ieyasu. Among these gifts was a Western-style clock. Ieyasu's foreign advisor Ishin Sūden recorded "one clock" in the gift catalog in Ikoku Nikki.Ieyasu liked the clock very much and displayed it in his room, but did not use it as a clock because it differed from the Japanese calendar system.The clock was never used or its parts replaced, and it was stored as a sacred treasure at Kunōzan Tōshō-gū in present-day Shizuoka, Shizuoka Prefecture after Ieyasu's death in 1616.

Category:Important Cultural Properties of Japan


Tokugawa Ieyasu's Clock

Prompt: Describe the characteristics of the Arrival in Japan in Tokugawa Ieyasu's Clock's History.

On September 30, 1609, Philippine Governor Rodrigo de Vivero, 1st Count of Valle de Orizaba was on board a ship which was heading from the Philippines to Mexico (New Spain) when it was caught in a storm near Japan and drifted ashore in the village of Iwawada in Ōtaki Domain, Kazusa Province (present-day Onjuku, Chiba Prefecture). Local villagers succeeded in rescuing 317 of the 373 sailors on board. Local divers are said to have rescued drowning sailors from the sea and revived them with body heat. The crew was later sheltered at the Ōtaki Castle and the Iwaida Grand Shrine at the discretion of Honda Tadatomo, lord of Ōtaki Castle.Tokugawa Ieyasu sent his diplomatic advisor and translator Miura Anjin (William Adams) to Iwawada and ordered him to protect de Vivero and his crew. Honda Tadatomo met with de Vivero, and gave him kimono, tachi swords, cows, chickens, fruit, and sake. Tadatomo provided the ship's crew with food for 40 days until a decision was made on their treatment.Rodrigo de Vivero met Tokugawa Hidetada in Edo and Tokugawa Ieyasu in Sunpu. Ieyasu, as temporary ambassador to Spain, held discussions on trade, and offered to provide de Vivero and others with Western-style ships and travel expenses on the condition that they send mining engineers from Mexico. Ieyasu ordered Miura Anjin to build two Western-style ships and ordered Tanaka Shōsuke and 21 other Japanese merchants to transport de Vivero and his party to Mexico on these ships. The ships set sail from Uraga on June 13, 1610 and arrived in Mexico on October 23.In May 1611, King Philip III of Spain and Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga, the Viceroy of New Spain, dispatched Commander Sebastián Vizcaíno to Japan. Vizcaíno's mission was to thank Ieyasu for the rescue, discover the "gold and silver islands", mythical islands rich in silver and gold believed to be near Japan, to return the gold coins on loan from Ieyasu, and to send Japanese merchants back home. Vizcaíno met Ieyasu in Sunpu in July 1611, delivering gifts and a letter from the king and viceroy to Ieyasu. Among these gifts was a Western-style clock. Ieyasu's foreign advisor Ishin Sūden recorded "one clock" in the gift catalog in Ikoku Nikki.Ieyasu liked the clock very much and displayed it in his room, but did not use it as a clock because it differed from the Japanese calendar system.The clock was never used or its parts replaced, and it was stored as a sacred treasure at Kunōzan Tōshō-gū in present-day Shizuoka, Shizuoka Prefecture after Ieyasu's death in 1616.

Category:Important Cultural Properties of Japan


Tokugawa Ieyasu's Clock

Prompt: In the context of Tokugawa Ieyasu's Clock, explain the Restoration and the History.

On June 10, 1948, Time Day in Japan, the Japan Broadcasting Corporation (NHK) introduced the sound of the clock striking to the nation for the first time in a radio broadcast. However, when Teiichi Asahina visited Tōshō-gū in the spring following the broadcast to check the actual clock, he found that the iron parts had considerable red rust and the oil had run out, rendering it inoperable. Hearing that the previous year's broadcast had been recorded by ringing the clock manually rather than by running the clock, Asahina repeatedly urged that Tōshō-gū take care of it.As a result, the maintenance of the clock was decided to take place in both 1953 and 1954, around April 17, the anniversary of Ieyasu's death and the day of the Grand Festival. This date was chosen to coincide with Iemasa Tokugawa's visit to the shrine. All work was carried out inside Tōshō-gū as the shrine policy requires all treasures be kept out of public sight.During the restoration, clockmakers such as Sugijirō Isada of Tokyo and Namijirō Ishizu of Hamamatsu worked without pay, and the clock began to run again. NHK broadcast the sound of the clock ticking and striking nationwide on the evening news on April 18, 1953. In 1955, on Time Day, the House of Councillors Chairman Yahachi Kawai, who attended the annual festival, suggested that the clock be set to ring with a sister clock in Spain. Asahina and others approached the Spanish Embassy and exchanged tapes with each other, which were broadcast on June 10 in both countries.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Explain the Restoration about the History of this artwork, Tokugawa Ieyasu's Clock.

On June 10, 1948, Time Day in Japan, the Japan Broadcasting Corporation (NHK) introduced the sound of the clock striking to the nation for the first time in a radio broadcast. However, when Teiichi Asahina visited Tōshō-gū in the spring following the broadcast to check the actual clock, he found that the iron parts had considerable red rust and the oil had run out, rendering it inoperable. Hearing that the previous year's broadcast had been recorded by ringing the clock manually rather than by running the clock, Asahina repeatedly urged that Tōshō-gū take care of it.As a result, the maintenance of the clock was decided to take place in both 1953 and 1954, around April 17, the anniversary of Ieyasu's death and the day of the Grand Festival. This date was chosen to coincide with Iemasa Tokugawa's visit to the shrine. All work was carried out inside Tōshō-gū as the shrine policy requires all treasures be kept out of public sight.During the restoration, clockmakers such as Sugijirō Isada of Tokyo and Namijirō Ishizu of Hamamatsu worked without pay, and the clock began to run again. NHK broadcast the sound of the clock ticking and striking nationwide on the evening news on April 18, 1953. In 1955, on Time Day, the House of Councillors Chairman Yahachi Kawai, who attended the annual festival, suggested that the clock be set to ring with a sister clock in Spain. Asahina and others approached the Spanish Embassy and exchanged tapes with each other, which were broadcast on June 10 in both countries.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In Tokugawa Ieyasu's Clock, how is the Restoration of the History explained?

On June 10, 1948, Time Day in Japan, the Japan Broadcasting Corporation (NHK) introduced the sound of the clock striking to the nation for the first time in a radio broadcast. However, when Teiichi Asahina visited Tōshō-gū in the spring following the broadcast to check the actual clock, he found that the iron parts had considerable red rust and the oil had run out, rendering it inoperable. Hearing that the previous year's broadcast had been recorded by ringing the clock manually rather than by running the clock, Asahina repeatedly urged that Tōshō-gū take care of it.As a result, the maintenance of the clock was decided to take place in both 1953 and 1954, around April 17, the anniversary of Ieyasu's death and the day of the Grand Festival. This date was chosen to coincide with Iemasa Tokugawa's visit to the shrine. All work was carried out inside Tōshō-gū as the shrine policy requires all treasures be kept out of public sight.During the restoration, clockmakers such as Sugijirō Isada of Tokyo and Namijirō Ishizu of Hamamatsu worked without pay, and the clock began to run again. NHK broadcast the sound of the clock ticking and striking nationwide on the evening news on April 18, 1953. In 1955, on Time Day, the House of Councillors Chairman Yahachi Kawai, who attended the annual festival, suggested that the clock be set to ring with a sister clock in Spain. Asahina and others approached the Spanish Embassy and exchanged tapes with each other, which were broadcast on June 10 in both countries.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Describe the characteristics of the Restoration in Tokugawa Ieyasu's Clock's History.

On June 10, 1948, Time Day in Japan, the Japan Broadcasting Corporation (NHK) introduced the sound of the clock striking to the nation for the first time in a radio broadcast. However, when Teiichi Asahina visited Tōshō-gū in the spring following the broadcast to check the actual clock, he found that the iron parts had considerable red rust and the oil had run out, rendering it inoperable. Hearing that the previous year's broadcast had been recorded by ringing the clock manually rather than by running the clock, Asahina repeatedly urged that Tōshō-gū take care of it.As a result, the maintenance of the clock was decided to take place in both 1953 and 1954, around April 17, the anniversary of Ieyasu's death and the day of the Grand Festival. This date was chosen to coincide with Iemasa Tokugawa's visit to the shrine. All work was carried out inside Tōshō-gū as the shrine policy requires all treasures be kept out of public sight.During the restoration, clockmakers such as Sugijirō Isada of Tokyo and Namijirō Ishizu of Hamamatsu worked without pay, and the clock began to run again. NHK broadcast the sound of the clock ticking and striking nationwide on the evening news on April 18, 1953. In 1955, on Time Day, the House of Councillors Chairman Yahachi Kawai, who attended the annual festival, suggested that the clock be set to ring with a sister clock in Spain. Asahina and others approached the Spanish Embassy and exchanged tapes with each other, which were broadcast on June 10 in both countries.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In the context of Tokugawa Ieyasu's Clock, explain the Modern times and the History.

In November 1955, the clock was stolen along with 12 other treasures from the exhibition hall during the night between the 19th and 20th. The incident was covered by a foreign clock magazine. On the night of February 1, 1956, the clock was wrapped in old newspapers and delivered to a newspaper company in Shizuoka. The perpetrators were later arrested, but the other 12 treasures were found caught in a fishing net in the ocean at Miho no Matsubara, and although they were all damaged, the clock was the only one that was returned undamaged.In 1979, it was designated as an Important Cultural Property along with other Ieyasu's personal items as one of the "Materials Related to Tokugawa Ieyasu", and is currently on permanent display at the Kunōzan Tōshō-gū Museum.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Explain the Modern times about the History of this artwork, Tokugawa Ieyasu's Clock.

In November 1955, the clock was stolen along with 12 other treasures from the exhibition hall during the night between the 19th and 20th. The incident was covered by a foreign clock magazine. On the night of February 1, 1956, the clock was wrapped in old newspapers and delivered to a newspaper company in Shizuoka. The perpetrators were later arrested, but the other 12 treasures were found caught in a fishing net in the ocean at Miho no Matsubara, and although they were all damaged, the clock was the only one that was returned undamaged.In 1979, it was designated as an Important Cultural Property along with other Ieyasu's personal items as one of the "Materials Related to Tokugawa Ieyasu", and is currently on permanent display at the Kunōzan Tōshō-gū Museum.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In Tokugawa Ieyasu's Clock, how is the Modern times of the History explained?

In November 1955, the clock was stolen along with 12 other treasures from the exhibition hall during the night between the 19th and 20th. The incident was covered by a foreign clock magazine. On the night of February 1, 1956, the clock was wrapped in old newspapers and delivered to a newspaper company in Shizuoka. The perpetrators were later arrested, but the other 12 treasures were found caught in a fishing net in the ocean at Miho no Matsubara, and although they were all damaged, the clock was the only one that was returned undamaged.In 1979, it was designated as an Important Cultural Property along with other Ieyasu's personal items as one of the "Materials Related to Tokugawa Ieyasu", and is currently on permanent display at the Kunōzan Tōshō-gū Museum.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Describe the characteristics of the Modern times in Tokugawa Ieyasu's Clock's History.

In November 1955, the clock was stolen along with 12 other treasures from the exhibition hall during the night between the 19th and 20th. The incident was covered by a foreign clock magazine. On the night of February 1, 1956, the clock was wrapped in old newspapers and delivered to a newspaper company in Shizuoka. The perpetrators were later arrested, but the other 12 treasures were found caught in a fishing net in the ocean at Miho no Matsubara, and although they were all damaged, the clock was the only one that was returned undamaged.In 1979, it was designated as an Important Cultural Property along with other Ieyasu's personal items as one of the "Materials Related to Tokugawa Ieyasu", and is currently on permanent display at the Kunōzan Tōshō-gū Museum.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Focus on Tokugawa Ieyasu's Clock and explain the Design.

The clock is 21.5 cm high and 10.6 cm wide. It is a spring-loaded mechanical clock equipped with an alarm function. The clock utilizes the most advanced mechanical technology available at the time of its manufacture. It has a gilt bronze box with a domed top and doors on the left and right sides. The doors and back are engraved with lines depicting a view of a fortress from a Gothic style arched gate, and the domed upper surface is overlaid with openwork metal fittings in a wave pattern. The clock has a silver bell inside. The circular dial on the front is gilt brass with an integrated silver scale ring.The dial is marked with Roman numerals from "I" to "XII". An inscription featuring an anthropomorphic expression in a mixture of Spanish and Latin, "HANS・DE・EVALO・ME・FECIT EN MADRID・A・1581", meaning "Hans de Evalo made me in Madrid in 1581," is engraved on an oval plate tacked to the bottom of the dial. This inscription has been considered unquestionable, but in 2014, another inscription, "NICOLAVS DE TROESTENBERCH ME FECIT ANNO DNI 1573 BRVXELENCIS" ("Nicolaus de Troestenberch made me in Brussels in 1573 A.D."), was found underneath a nameplate on the bottom, which reads "1581".The clock has a portable box, which is made out of what appears to be cedar wood with leather attached. The box has a round glass window so that the time can be read even when the clock is stored. The upper plate of the box, which serves as a lid, is a semi-circular sphere that matches the dome of the clock. The handles on the box have been lost, but their metal fittings remain.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Explain the Design of this artwork, Tokugawa Ieyasu's Clock.

The clock is 21.5 cm high and 10.6 cm wide. It is a spring-loaded mechanical clock equipped with an alarm function. The clock utilizes the most advanced mechanical technology available at the time of its manufacture. It has a gilt bronze box with a domed top and doors on the left and right sides. The doors and back are engraved with lines depicting a view of a fortress from a Gothic style arched gate, and the domed upper surface is overlaid with openwork metal fittings in a wave pattern. The clock has a silver bell inside. The circular dial on the front is gilt brass with an integrated silver scale ring.The dial is marked with Roman numerals from "I" to "XII". An inscription featuring an anthropomorphic expression in a mixture of Spanish and Latin, "HANS・DE・EVALO・ME・FECIT EN MADRID・A・1581", meaning "Hans de Evalo made me in Madrid in 1581," is engraved on an oval plate tacked to the bottom of the dial. This inscription has been considered unquestionable, but in 2014, another inscription, "NICOLAVS DE TROESTENBERCH ME FECIT ANNO DNI 1573 BRVXELENCIS" ("Nicolaus de Troestenberch made me in Brussels in 1573 A.D."), was found underneath a nameplate on the bottom, which reads "1581".The clock has a portable box, which is made out of what appears to be cedar wood with leather attached. The box has a round glass window so that the time can be read even when the clock is stored. The upper plate of the box, which serves as a lid, is a semi-circular sphere that matches the dome of the clock. The handles on the box have been lost, but their metal fittings remain.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: How does Tokugawa Ieyasu's Clock explain its Design?

The clock is 21.5 cm high and 10.6 cm wide. It is a spring-loaded mechanical clock equipped with an alarm function. The clock utilizes the most advanced mechanical technology available at the time of its manufacture. It has a gilt bronze box with a domed top and doors on the left and right sides. The doors and back are engraved with lines depicting a view of a fortress from a Gothic style arched gate, and the domed upper surface is overlaid with openwork metal fittings in a wave pattern. The clock has a silver bell inside. The circular dial on the front is gilt brass with an integrated silver scale ring.The dial is marked with Roman numerals from "I" to "XII". An inscription featuring an anthropomorphic expression in a mixture of Spanish and Latin, "HANS・DE・EVALO・ME・FECIT EN MADRID・A・1581", meaning "Hans de Evalo made me in Madrid in 1581," is engraved on an oval plate tacked to the bottom of the dial. This inscription has been considered unquestionable, but in 2014, another inscription, "NICOLAVS DE TROESTENBERCH ME FECIT ANNO DNI 1573 BRVXELENCIS" ("Nicolaus de Troestenberch made me in Brussels in 1573 A.D."), was found underneath a nameplate on the bottom, which reads "1581".The clock has a portable box, which is made out of what appears to be cedar wood with leather attached. The box has a round glass window so that the time can be read even when the clock is stored. The upper plate of the box, which serves as a lid, is a semi-circular sphere that matches the dome of the clock. The handles on the box have been lost, but their metal fittings remain.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In Tokugawa Ieyasu's Clock, how is the Design discussed?

The clock is 21.5 cm high and 10.6 cm wide. It is a spring-loaded mechanical clock equipped with an alarm function. The clock utilizes the most advanced mechanical technology available at the time of its manufacture. It has a gilt bronze box with a domed top and doors on the left and right sides. The doors and back are engraved with lines depicting a view of a fortress from a Gothic style arched gate, and the domed upper surface is overlaid with openwork metal fittings in a wave pattern. The clock has a silver bell inside. The circular dial on the front is gilt brass with an integrated silver scale ring.The dial is marked with Roman numerals from "I" to "XII". An inscription featuring an anthropomorphic expression in a mixture of Spanish and Latin, "HANS・DE・EVALO・ME・FECIT EN MADRID・A・1581", meaning "Hans de Evalo made me in Madrid in 1581," is engraved on an oval plate tacked to the bottom of the dial. This inscription has been considered unquestionable, but in 2014, another inscription, "NICOLAVS DE TROESTENBERCH ME FECIT ANNO DNI 1573 BRVXELENCIS" ("Nicolaus de Troestenberch made me in Brussels in 1573 A.D."), was found underneath a nameplate on the bottom, which reads "1581".The clock has a portable box, which is made out of what appears to be cedar wood with leather attached. The box has a round glass window so that the time can be read even when the clock is stored. The upper plate of the box, which serves as a lid, is a semi-circular sphere that matches the dome of the clock. The handles on the box have been lost, but their metal fittings remain.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In the context of Tokugawa Ieyasu's Clock, explain the Examination by the British Museum and the Studies.

David Thompson, curator of horological collections at the British Museum in the United Kingdom, came to Japan to examine the internal parts of the clock in May 2012. Thompson stated at a press conference that "There are only about 20 similar clocks from this period in existence in the world, and almost all of the internal mainsprings and other parts remain unchanged, including the leather-covered outer case, which is in excellent condition." He also concluded that the clock is likely the only clock in the world of its era in which almost all of the internal parts remain as they were originally made, and that the clock is "extremely rare and valuable."Based on the findings of the examination, the clock was disassembled and cleaned by Johan ten Hoeve, a clock conservator designated by the British Museum, in May 2014.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Explain the Examination by the British Museum about the Studies of this artwork, Tokugawa Ieyasu's Clock.

David Thompson, curator of horological collections at the British Museum in the United Kingdom, came to Japan to examine the internal parts of the clock in May 2012. Thompson stated at a press conference that "There are only about 20 similar clocks from this period in existence in the world, and almost all of the internal mainsprings and other parts remain unchanged, including the leather-covered outer case, which is in excellent condition." He also concluded that the clock is likely the only clock in the world of its era in which almost all of the internal parts remain as they were originally made, and that the clock is "extremely rare and valuable."Based on the findings of the examination, the clock was disassembled and cleaned by Johan ten Hoeve, a clock conservator designated by the British Museum, in May 2014.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In Tokugawa Ieyasu's Clock, how is the Examination by the British Museum of the Studies explained?

David Thompson, curator of horological collections at the British Museum in the United Kingdom, came to Japan to examine the internal parts of the clock in May 2012. Thompson stated at a press conference that "There are only about 20 similar clocks from this period in existence in the world, and almost all of the internal mainsprings and other parts remain unchanged, including the leather-covered outer case, which is in excellent condition." He also concluded that the clock is likely the only clock in the world of its era in which almost all of the internal parts remain as they were originally made, and that the clock is "extremely rare and valuable."Based on the findings of the examination, the clock was disassembled and cleaned by Johan ten Hoeve, a clock conservator designated by the British Museum, in May 2014.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Describe the characteristics of the Examination by the British Museum in Tokugawa Ieyasu's Clock's Studies.

David Thompson, curator of horological collections at the British Museum in the United Kingdom, came to Japan to examine the internal parts of the clock in May 2012. Thompson stated at a press conference that "There are only about 20 similar clocks from this period in existence in the world, and almost all of the internal mainsprings and other parts remain unchanged, including the leather-covered outer case, which is in excellent condition." He also concluded that the clock is likely the only clock in the world of its era in which almost all of the internal parts remain as they were originally made, and that the clock is "extremely rare and valuable."Based on the findings of the examination, the clock was disassembled and cleaned by Johan ten Hoeve, a clock conservator designated by the British Museum, in May 2014.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In the context of Tokugawa Ieyasu's Clock, explain the Inscription of a different clockmaker and the Studies.

In 2014, an inscription was discovered with a different clockmaker, year of manufacture, and place of manufacture than previously thought. This discovery was made in the fall of the same year, when the Shizuoka University Electronics Research Institute, following Thompson's suggestion, took fluoroscopic images of the front side and bottom of the clock. Katsuhiro Sasaki and Yō Saitō, honorary research fellows of the Science and Engineering Department of the National Museum of Nature and Science, have speculated that a clock in the possession of the viceroy was newly inscribed with the name of de Evalo, who had been promoted to royal clockmaker in 1580, as the work of the royal clockmaker was required as a gift to show the authority of the Kingdom of Spain as well as a sufficient acknowledgement to Tokugawa Ieyasu. They based this speculation on the fact that there were less than five months between Don Rodrigo's return to Acapulco and his departure for Japan, and there was no time to transport a clock from mainland Spain with such a short period of preparation.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Explain the Inscription of a different clockmaker about the Studies of this artwork, Tokugawa Ieyasu's Clock.

In 2014, an inscription was discovered with a different clockmaker, year of manufacture, and place of manufacture than previously thought. This discovery was made in the fall of the same year, when the Shizuoka University Electronics Research Institute, following Thompson's suggestion, took fluoroscopic images of the front side and bottom of the clock. Katsuhiro Sasaki and Yō Saitō, honorary research fellows of the Science and Engineering Department of the National Museum of Nature and Science, have speculated that a clock in the possession of the viceroy was newly inscribed with the name of de Evalo, who had been promoted to royal clockmaker in 1580, as the work of the royal clockmaker was required as a gift to show the authority of the Kingdom of Spain as well as a sufficient acknowledgement to Tokugawa Ieyasu. They based this speculation on the fact that there were less than five months between Don Rodrigo's return to Acapulco and his departure for Japan, and there was no time to transport a clock from mainland Spain with such a short period of preparation.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: In Tokugawa Ieyasu's Clock, how is the Inscription of a different clockmaker of the Studies explained?

In 2014, an inscription was discovered with a different clockmaker, year of manufacture, and place of manufacture than previously thought. This discovery was made in the fall of the same year, when the Shizuoka University Electronics Research Institute, following Thompson's suggestion, took fluoroscopic images of the front side and bottom of the clock. Katsuhiro Sasaki and Yō Saitō, honorary research fellows of the Science and Engineering Department of the National Museum of Nature and Science, have speculated that a clock in the possession of the viceroy was newly inscribed with the name of de Evalo, who had been promoted to royal clockmaker in 1580, as the work of the royal clockmaker was required as a gift to show the authority of the Kingdom of Spain as well as a sufficient acknowledgement to Tokugawa Ieyasu. They based this speculation on the fact that there were less than five months between Don Rodrigo's return to Acapulco and his departure for Japan, and there was no time to transport a clock from mainland Spain with such a short period of preparation.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Tokugawa Ieyasu's Clock

Prompt: Describe the characteristics of the Inscription of a different clockmaker in Tokugawa Ieyasu's Clock's Studies.

In 2014, an inscription was discovered with a different clockmaker, year of manufacture, and place of manufacture than previously thought. This discovery was made in the fall of the same year, when the Shizuoka University Electronics Research Institute, following Thompson's suggestion, took fluoroscopic images of the front side and bottom of the clock. Katsuhiro Sasaki and Yō Saitō, honorary research fellows of the Science and Engineering Department of the National Museum of Nature and Science, have speculated that a clock in the possession of the viceroy was newly inscribed with the name of de Evalo, who had been promoted to royal clockmaker in 1580, as the work of the royal clockmaker was required as a gift to show the authority of the Kingdom of Spain as well as a sufficient acknowledgement to Tokugawa Ieyasu. They based this speculation on the fact that there were less than five months between Don Rodrigo's return to Acapulco and his departure for Japan, and there was no time to transport a clock from mainland Spain with such a short period of preparation.

Category:Important Cultural Properties of Japan

Rodrigo de Vivero, 1st Count of Valle de Orizaba

Luis de Velasco, 1st Marquess of Salinas del Río Pisuerga


Study of Rocks; Creuse

Prompt: Focus on Study of Rocks; Creuse and explain the abstract.

Study of Rocks; Creuse: 'Le Bloc' is an 1889 painting by Claude Monet. It is an oil on canvas and measures 72.4 x 91.4 cm.Monet gave the painting to Georges Clemenceau in 1899 according to Daniel Wildenstein, though Clemenceau is cited as the owner in an 1891 exhibition catalogue. Clemenceau nicknamed the painting 'Le Bloc' ('The Rock'). The painting was one of fourteen that were exhibited in a joint exhibition with Auguste Rodin at Georges Petit's Parisian gallery in June 1889.Paul Hayes Tucker, the curator of the 1990 exhibition Monet in the '90s: The Series Paintings, at the Museum of Fine Arts in Boston, Massachusetts, described the painting as "majestic".The painting was reproduced in a copy by the British artist Gerald Kelly in 1939. Kelly's version is now in a private collection.Queen Elizabeth The Queen Mother bought the painting for £2,000 in 1949 (equivalent to £89,253 in 2023); it was worth an estimated £15 million at the time of her death in 2002.The dramatist and performer Noël Coward was also an amateur artist and arranged a visit to Clarence House specially to see Study of Rocks.

Category:Queen Elizabeth The Queen Mother


Study of Rocks; Creuse

Prompt: Explain the abstract of this artwork, Study of Rocks; Creuse.

Study of Rocks; Creuse: 'Le Bloc' is an 1889 painting by Claude Monet. It is an oil on canvas and measures 72.4 x 91.4 cm.Monet gave the painting to Georges Clemenceau in 1899 according to Daniel Wildenstein, though Clemenceau is cited as the owner in an 1891 exhibition catalogue. Clemenceau nicknamed the painting 'Le Bloc' ('The Rock'). The painting was one of fourteen that were exhibited in a joint exhibition with Auguste Rodin at Georges Petit's Parisian gallery in June 1889.Paul Hayes Tucker, the curator of the 1990 exhibition Monet in the '90s: The Series Paintings, at the Museum of Fine Arts in Boston, Massachusetts, described the painting as "majestic".The painting was reproduced in a copy by the British artist Gerald Kelly in 1939. Kelly's version is now in a private collection.Queen Elizabeth The Queen Mother bought the painting for £2,000 in 1949 (equivalent to £89,253 in 2023); it was worth an estimated £15 million at the time of her death in 2002.The dramatist and performer Noël Coward was also an amateur artist and arranged a visit to Clarence House specially to see Study of Rocks.

Category:Queen Elizabeth The Queen Mother


Study of Rocks; Creuse

Prompt: How does Study of Rocks; Creuse explain its abstract?

Study of Rocks; Creuse: 'Le Bloc' is an 1889 painting by Claude Monet. It is an oil on canvas and measures 72.4 x 91.4 cm.Monet gave the painting to Georges Clemenceau in 1899 according to Daniel Wildenstein, though Clemenceau is cited as the owner in an 1891 exhibition catalogue. Clemenceau nicknamed the painting 'Le Bloc' ('The Rock'). The painting was one of fourteen that were exhibited in a joint exhibition with Auguste Rodin at Georges Petit's Parisian gallery in June 1889.Paul Hayes Tucker, the curator of the 1990 exhibition Monet in the '90s: The Series Paintings, at the Museum of Fine Arts in Boston, Massachusetts, described the painting as "majestic".The painting was reproduced in a copy by the British artist Gerald Kelly in 1939. Kelly's version is now in a private collection.Queen Elizabeth The Queen Mother bought the painting for £2,000 in 1949 (equivalent to £89,253 in 2023); it was worth an estimated £15 million at the time of her death in 2002.The dramatist and performer Noël Coward was also an amateur artist and arranged a visit to Clarence House specially to see Study of Rocks.

Category:Queen Elizabeth The Queen Mother


Study of Rocks; Creuse

Prompt: In Study of Rocks; Creuse, how is the abstract discussed?

Study of Rocks; Creuse: 'Le Bloc' is an 1889 painting by Claude Monet. It is an oil on canvas and measures 72.4 x 91.4 cm.Monet gave the painting to Georges Clemenceau in 1899 according to Daniel Wildenstein, though Clemenceau is cited as the owner in an 1891 exhibition catalogue. Clemenceau nicknamed the painting 'Le Bloc' ('The Rock'). The painting was one of fourteen that were exhibited in a joint exhibition with Auguste Rodin at Georges Petit's Parisian gallery in June 1889.Paul Hayes Tucker, the curator of the 1990 exhibition Monet in the '90s: The Series Paintings, at the Museum of Fine Arts in Boston, Massachusetts, described the painting as "majestic".The painting was reproduced in a copy by the British artist Gerald Kelly in 1939. Kelly's version is now in a private collection.Queen Elizabeth The Queen Mother bought the painting for £2,000 in 1949 (equivalent to £89,253 in 2023); it was worth an estimated £15 million at the time of her death in 2002.The dramatist and performer Noël Coward was also an amateur artist and arranged a visit to Clarence House specially to see Study of Rocks.

Category:Queen Elizabeth The Queen Mother


Study of Rocks; Creuse

Prompt: Focus on Study of Rocks; Creuse and explain the Description.

The painting depicts a hillside covered with rocks and crags; a blue sky with clouds hangs above the scene, with branches on the left hand side against the sky. The location of the painting is a rocky outcrop that rises above the confluence of two sources of the river Creuse. The painting is one of a series of 24 that Monet painted inspired by the landscapes around the village of Fresselines in the department of Creuse.

Category:Queen Elizabeth The Queen Mother


Study of Rocks; Creuse

Prompt: Explain the Description of this artwork, Study of Rocks; Creuse.

The painting depicts a hillside covered with rocks and crags; a blue sky with clouds hangs above the scene, with branches on the left hand side against the sky. The location of the painting is a rocky outcrop that rises above the confluence of two sources of the river Creuse. The painting is one of a series of 24 that Monet painted inspired by the landscapes around the village of Fresselines in the department of Creuse.

Category:Queen Elizabeth The Queen Mother


Study of Rocks; Creuse

Prompt: How does Study of Rocks; Creuse explain its Description?

The painting depicts a hillside covered with rocks and crags; a blue sky with clouds hangs above the scene, with branches on the left hand side against the sky. The location of the painting is a rocky outcrop that rises above the confluence of two sources of the river Creuse. The painting is one of a series of 24 that Monet painted inspired by the landscapes around the village of Fresselines in the department of Creuse.

Category:Queen Elizabeth The Queen Mother


Study of Rocks; Creuse

Prompt: In Study of Rocks; Creuse, how is the Description discussed?

The painting depicts a hillside covered with rocks and crags; a blue sky with clouds hangs above the scene, with branches on the left hand side against the sky. The location of the painting is a rocky outcrop that rises above the confluence of two sources of the river Creuse. The painting is one of a series of 24 that Monet painted inspired by the landscapes around the village of Fresselines in the department of Creuse.

Category:Queen Elizabeth The Queen Mother


Prompt: Focus on Two Women Beside a Linen Chest, with a Child and explain the abstract.

Two Women Beside a Linen Chest, with a Child is an oil-on-canvas painting by the Dutch painter Pieter de Hooch, created in 1663. It is part of the collection of the Amsterdam Museum, on loan to the Rijksmuseum.The painting was documented by Hofstede de Groot in 1908, who wrote:25. THE GOOD HOUSEWIFE. Sm. Suppl. 38.; de G. 13. A woman is putting away linen in a great oak press, inlaid with ebony, which stands to the right in a room. A girl, who, to judge from her fine clothes, is the woman's daughter, is helping her and taking the linen from a large basket. At the back are a high window and an open door, at which stands a child playing with a stick and a ball. A winding staircase and a cushioned chair are seen to the left of the room. Although this picture does not possess the brilliant and luminous effect which is so much coveted in this master's works, yet it has the charm of such truth and reality in appearance that it may justly be reckoned among his best works; the drawing and finishing are singularly perfect (Sm.). Signed "P. de Hoogh, 1663"; canvas, 30 inches by 28 inches. Exhibited at Amsterdam in 1872, No. 110, and 1900, No. 46. See Harvard, Merveilles d'Art, pp. 57, 123. Sales:Baron Lockhorst, in Rotterdam, 1726.Joachim Rendorp, October 16, 1793, and July 9, 1794, No. 25 (295 florins, Coders); catalogued as on panel.Bought by Sm., after passing through the hands of a Scottish owner, for 5-Sale. Smith, 1828 (399, bought in).In the collection of Six van Hillegom, Amsterdam, 1833 (Sm.).

Category:Paintings in the Amsterdam Museum


Prompt: Explain the abstract of this artwork, Two Women Beside a Linen Chest, with a Child.

Two Women Beside a Linen Chest, with a Child is an oil-on-canvas painting by the Dutch painter Pieter de Hooch, created in 1663. It is part of the collection of the Amsterdam Museum, on loan to the Rijksmuseum.The painting was documented by Hofstede de Groot in 1908, who wrote:25. THE GOOD HOUSEWIFE. Sm. Suppl. 38.; de G. 13. A woman is putting away linen in a great oak press, inlaid with ebony, which stands to the right in a room. A girl, who, to judge from her fine clothes, is the woman's daughter, is helping her and taking the linen from a large basket. At the back are a high window and an open door, at which stands a child playing with a stick and a ball. A winding staircase and a cushioned chair are seen to the left of the room. Although this picture does not possess the brilliant and luminous effect which is so much coveted in this master's works, yet it has the charm of such truth and reality in appearance that it may justly be reckoned among his best works; the drawing and finishing are singularly perfect (Sm.). Signed "P. de Hoogh, 1663"; canvas, 30 inches by 28 inches. Exhibited at Amsterdam in 1872, No. 110, and 1900, No. 46. See Harvard, Merveilles d'Art, pp. 57, 123. Sales:Baron Lockhorst, in Rotterdam, 1726.Joachim Rendorp, October 16, 1793, and July 9, 1794, No. 25 (295 florins, Coders); catalogued as on panel.Bought by Sm., after passing through the hands of a Scottish owner, for 5-Sale. Smith, 1828 (399, bought in).In the collection of Six van Hillegom, Amsterdam, 1833 (Sm.).

Category:Paintings in the Amsterdam Museum


Prompt: How does Two Women Beside a Linen Chest, with a Child explain its abstract?

Two Women Beside a Linen Chest, with a Child is an oil-on-canvas painting by the Dutch painter Pieter de Hooch, created in 1663. It is part of the collection of the Amsterdam Museum, on loan to the Rijksmuseum.The painting was documented by Hofstede de Groot in 1908, who wrote:25. THE GOOD HOUSEWIFE. Sm. Suppl. 38.; de G. 13. A woman is putting away linen in a great oak press, inlaid with ebony, which stands to the right in a room. A girl, who, to judge from her fine clothes, is the woman's daughter, is helping her and taking the linen from a large basket. At the back are a high window and an open door, at which stands a child playing with a stick and a ball. A winding staircase and a cushioned chair are seen to the left of the room. Although this picture does not possess the brilliant and luminous effect which is so much coveted in this master's works, yet it has the charm of such truth and reality in appearance that it may justly be reckoned among his best works; the drawing and finishing are singularly perfect (Sm.). Signed "P. de Hoogh, 1663"; canvas, 30 inches by 28 inches. Exhibited at Amsterdam in 1872, No. 110, and 1900, No. 46. See Harvard, Merveilles d'Art, pp. 57, 123. Sales:Baron Lockhorst, in Rotterdam, 1726.Joachim Rendorp, October 16, 1793, and July 9, 1794, No. 25 (295 florins, Coders); catalogued as on panel.Bought by Sm., after passing through the hands of a Scottish owner, for 5-Sale. Smith, 1828 (399, bought in).In the collection of Six van Hillegom, Amsterdam, 1833 (Sm.).

Category:Paintings in the Amsterdam Museum


Prompt: In Two Women Beside a Linen Chest, with a Child, how is the abstract discussed?

Two Women Beside a Linen Chest, with a Child is an oil-on-canvas painting by the Dutch painter Pieter de Hooch, created in 1663. It is part of the collection of the Amsterdam Museum, on loan to the Rijksmuseum.The painting was documented by Hofstede de Groot in 1908, who wrote:25. THE GOOD HOUSEWIFE. Sm. Suppl. 38.; de G. 13. A woman is putting away linen in a great oak press, inlaid with ebony, which stands to the right in a room. A girl, who, to judge from her fine clothes, is the woman's daughter, is helping her and taking the linen from a large basket. At the back are a high window and an open door, at which stands a child playing with a stick and a ball. A winding staircase and a cushioned chair are seen to the left of the room. Although this picture does not possess the brilliant and luminous effect which is so much coveted in this master's works, yet it has the charm of such truth and reality in appearance that it may justly be reckoned among his best works; the drawing and finishing are singularly perfect (Sm.). Signed "P. de Hoogh, 1663"; canvas, 30 inches by 28 inches. Exhibited at Amsterdam in 1872, No. 110, and 1900, No. 46. See Harvard, Merveilles d'Art, pp. 57, 123. Sales:Baron Lockhorst, in Rotterdam, 1726.Joachim Rendorp, October 16, 1793, and July 9, 1794, No. 25 (295 florins, Coders); catalogued as on panel.Bought by Sm., after passing through the hands of a Scottish owner, for 5-Sale. Smith, 1828 (399, bought in).In the collection of Six van Hillegom, Amsterdam, 1833 (Sm.).

Category:Paintings in the Amsterdam Museum


Cupid Making His Bow

Prompt: Focus on Cupid Making His Bow and explain the abstract.

Cupid Making His Bow (c. 1533–1535) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum,  Vienna, Austria.

Category:Paintings in the Kunsthistorisches Museum


Cupid Making His Bow

Prompt: Explain the abstract of this artwork, Cupid Making His Bow.

Cupid Making His Bow (c. 1533–1535) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum,  Vienna, Austria.

Category:Paintings in the Kunsthistorisches Museum


Cupid Making His Bow

Prompt: How does Cupid Making His Bow explain its abstract?

Cupid Making His Bow (c. 1533–1535) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum,  Vienna, Austria.

Category:Paintings in the Kunsthistorisches Museum


Cupid Making His Bow

Prompt: In Cupid Making His Bow, how is the abstract discussed?

Cupid Making His Bow (c. 1533–1535) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum,  Vienna, Austria.

Category:Paintings in the Kunsthistorisches Museum


Cupid Making His Bow

Prompt: Focus on Cupid Making His Bow and explain the History.

The work appears in the inventory of Francesco Baiardo in Parma, who was a friend and patron of  Parmigianino. Late Renaissance art biographer Giorgio Vasari writes that Baiardo had commissioned the  Cupido che fabbrica di sua mano un arco.The painting was inherited by  Marcantonio Cavalca and later went to  Antonio Pérez, secretary of state of Philip II of Spain, who brought it with him to Spain. In 1579 Pérez fell in disgrace, and was forced to sell the painting to an envoy of emperor Rudolf II, Holy Roman Emperor. It was however blocked by the Spanish crown, and could be acquired and arrive to Prague, together with Correggio's Jupiter and Io  and Ganymede Abducted by the Eagle, in 1603. It was transferred to Vienna's Schatzkammer in 1631.A preparatory drawing for Cupid's head is in the Cabinet des Dessins of the Louvre (n. 1662). The work was frequently copied and used as a model by numerous artists. There are copies by Joseph Heintz the Elder and Rubens in the Alte Pinakothek of Munich.

Category:Paintings in the Kunsthistorisches Museum


Cupid Making His Bow

Prompt: Explain the History of this artwork, Cupid Making His Bow.

The work appears in the inventory of Francesco Baiardo in Parma, who was a friend and patron of  Parmigianino. Late Renaissance art biographer Giorgio Vasari writes that Baiardo had commissioned the  Cupido che fabbrica di sua mano un arco.The painting was inherited by  Marcantonio Cavalca and later went to  Antonio Pérez, secretary of state of Philip II of Spain, who brought it with him to Spain. In 1579 Pérez fell in disgrace, and was forced to sell the painting to an envoy of emperor Rudolf II, Holy Roman Emperor. It was however blocked by the Spanish crown, and could be acquired and arrive to Prague, together with Correggio's Jupiter and Io  and Ganymede Abducted by the Eagle, in 1603. It was transferred to Vienna's Schatzkammer in 1631.A preparatory drawing for Cupid's head is in the Cabinet des Dessins of the Louvre (n. 1662). The work was frequently copied and used as a model by numerous artists. There are copies by Joseph Heintz the Elder and Rubens in the Alte Pinakothek of Munich.

Category:Paintings in the Kunsthistorisches Museum


Cupid Making His Bow

Prompt: How does Cupid Making His Bow explain its History?

The work appears in the inventory of Francesco Baiardo in Parma, who was a friend and patron of  Parmigianino. Late Renaissance art biographer Giorgio Vasari writes that Baiardo had commissioned the  Cupido che fabbrica di sua mano un arco.The painting was inherited by  Marcantonio Cavalca and later went to  Antonio Pérez, secretary of state of Philip II of Spain, who brought it with him to Spain. In 1579 Pérez fell in disgrace, and was forced to sell the painting to an envoy of emperor Rudolf II, Holy Roman Emperor. It was however blocked by the Spanish crown, and could be acquired and arrive to Prague, together with Correggio's Jupiter and Io  and Ganymede Abducted by the Eagle, in 1603. It was transferred to Vienna's Schatzkammer in 1631.A preparatory drawing for Cupid's head is in the Cabinet des Dessins of the Louvre (n. 1662). The work was frequently copied and used as a model by numerous artists. There are copies by Joseph Heintz the Elder and Rubens in the Alte Pinakothek of Munich.

Category:Paintings in the Kunsthistorisches Museum


Cupid Making His Bow

Prompt: In Cupid Making His Bow, how is the History discussed?

The work appears in the inventory of Francesco Baiardo in Parma, who was a friend and patron of  Parmigianino. Late Renaissance art biographer Giorgio Vasari writes that Baiardo had commissioned the  Cupido che fabbrica di sua mano un arco.The painting was inherited by  Marcantonio Cavalca and later went to  Antonio Pérez, secretary of state of Philip II of Spain, who brought it with him to Spain. In 1579 Pérez fell in disgrace, and was forced to sell the painting to an envoy of emperor Rudolf II, Holy Roman Emperor. It was however blocked by the Spanish crown, and could be acquired and arrive to Prague, together with Correggio's Jupiter and Io  and Ganymede Abducted by the Eagle, in 1603. It was transferred to Vienna's Schatzkammer in 1631.A preparatory drawing for Cupid's head is in the Cabinet des Dessins of the Louvre (n. 1662). The work was frequently copied and used as a model by numerous artists. There are copies by Joseph Heintz the Elder and Rubens in the Alte Pinakothek of Munich.

Category:Paintings in the Kunsthistorisches Museum


Portrait of Ippolito de' Medici

Prompt: Focus on Portrait of Ippolito de' Medici and explain the abstract.

The Portrait of Ippolito de' Medici is a 1532-33 portrait of Ippolito de' Medici by Titian, now in the Palazzo Pitti. He is "in the dress of an Hungarian horseman."

Category:Paintings in the Galleria Palatina


Portrait of Ippolito de' Medici

Prompt: Explain the abstract of this artwork, Portrait of Ippolito de' Medici.

The Portrait of Ippolito de' Medici is a 1532-33 portrait of Ippolito de' Medici by Titian, now in the Palazzo Pitti. He is "in the dress of an Hungarian horseman."

Category:Paintings in the Galleria Palatina


Portrait of Ippolito de' Medici

Prompt: How does Portrait of Ippolito de' Medici explain its abstract?

The Portrait of Ippolito de' Medici is a 1532-33 portrait of Ippolito de' Medici by Titian, now in the Palazzo Pitti. He is "in the dress of an Hungarian horseman."

Category:Paintings in the Galleria Palatina


Portrait of Ippolito de' Medici

Prompt: In Portrait of Ippolito de' Medici, how is the abstract discussed?

The Portrait of Ippolito de' Medici is a 1532-33 portrait of Ippolito de' Medici by Titian, now in the Palazzo Pitti. He is "in the dress of an Hungarian horseman."

Category:Paintings in the Galleria Palatina


San Francesco al Prato Resurrection

Prompt: Focus on San Francesco al Prato Resurrection and explain the abstract.

The San Francesco al Prato Resurrection is a painting by the Italian Renaissance painter Pietro Perugino, dating to c. 1499. It is housed in the Pinacoteca Vaticana, Rome.

Category:Paintings in the Vatican Museums

Category:Paintings of the Resurrection of Christ


San Francesco al Prato Resurrection

Prompt: Explain the abstract of this artwork, San Francesco al Prato Resurrection.

The San Francesco al Prato Resurrection is a painting by the Italian Renaissance painter Pietro Perugino, dating to c. 1499. It is housed in the Pinacoteca Vaticana, Rome.

Category:Paintings in the Vatican Museums

Category:Paintings of the Resurrection of Christ