The Blind Leading the Blind

Prompt: How does The Blind Leading the Blind explain its Background?

Sixteenth-century Europe was undergoing many societal changes: the Protestant Reformation and its rejection of public religious imagery; Renaissance humanism and its emphasis on empiricism at the expense of religious faith; and the growth of the middle class amidst the rise of mercantilism.  It was a time of rapid advances in learning and knowledge, and a move towards the empirical sciences—the age of the heliocentric theory of Copernicus and of Gutenberg's printing presses.  The cartography of Ortelius influenced the painting of landscapes, and the advances Vesalius brought to the study of anatomy via the direct observation of dissected bodies, motivated artists to pay greater attention to the accuracy of the anatomy in their works.Art was now traded in open markets; artists sought to distinguish themselves with subjects different from traditional noble, mythological, and Biblical ones, and developed new, realistic techniques based on empirical observation.  Classical literature provided precedents for dealing with "low" subjects in art. Genre art and its depiction of ordinary people and everyday life emerged against this background.Pieter Bruegel the Elder began his career illustrating landscapes and fantastic scenes in a dense style that earned him a reputation as artistic heir to Hieronymus Bosch.  He soon came to follow the example of another master, Pieter Aertsen, who had made a name for himself in the 1550s depicting everyday scenes in a highly realistic style, such as the detailed array of meat products that dominate his large Butcher's Stall of 1551. Bruegel's subjects became more quotidian and his style observational.  He achieved fame for detailed, accurate and realistic portrayals of peasants, with whom his paintings were popular.  He painted on linen canvas and oak panel, and avoided scenes of magnificence and portraits of nobility or royalty.  The peasants Bruegel at first depicted were featureless and undifferentiated; as his work matured, their physiognomy became markedly more detailed and expressive.In 1563, Bruegel married Mayken, the daughter of his teacher Pieter Coecke van Aelst, and moved to Brussels, the seat of government in the Spanish Netherlands (1556–1714). In 1567 the governor of the Netherlands, the Duke of Alba, established the Council of Troubles (popularly called the "Blood Council") to suppress non-Catholic religions and enforce Spanish rule, leading to mass arrests and executions.   Whether Bruegel had Calvinist sympathies or intended a political message in The Blind is not clear, but the evidence indicates he likely held views critical of the Catholic Church.  A bitter, sorrowful tone characterizes his last works, such as The Blind and The Magpie on the Gallows.In ancient Greece the blind were depicted as having received gifts from the gods, and blind singers were held in high regard.  In mediaeval Europe, the blind were depicted as the subjects of miracles, such as Bartimaeus in the healing the blind near Jericho in Mark 10:46–52.  Following the Reformation, painted depictions of saints and miracles fell out of favour in Protestant areas.  In Catholic thought, charitable works of mercy, such as giving alms to the blind and poor, were good works which, together with faith, helped the salvation of the doer. However, the Protestant doctrine of sola fide rejected the efficacy of works in achieving salvation, prescribing that it depended on faith alone (and the complication of God's predestined will for each individual).  The status of charity for the poor and infirm diminished, and beggars saw their circumstances deteriorate.  In popular literature of the time, the blind were depicted as rogues or targets of pranks.  The parable of the blind leading the blind also appears as one of the illustrated proverbs in Bruegel's Netherlandish Proverbs (1559).

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: In The Blind Leading the Blind, how is the Background discussed?

Sixteenth-century Europe was undergoing many societal changes: the Protestant Reformation and its rejection of public religious imagery; Renaissance humanism and its emphasis on empiricism at the expense of religious faith; and the growth of the middle class amidst the rise of mercantilism.  It was a time of rapid advances in learning and knowledge, and a move towards the empirical sciences—the age of the heliocentric theory of Copernicus and of Gutenberg's printing presses.  The cartography of Ortelius influenced the painting of landscapes, and the advances Vesalius brought to the study of anatomy via the direct observation of dissected bodies, motivated artists to pay greater attention to the accuracy of the anatomy in their works.Art was now traded in open markets; artists sought to distinguish themselves with subjects different from traditional noble, mythological, and Biblical ones, and developed new, realistic techniques based on empirical observation.  Classical literature provided precedents for dealing with "low" subjects in art. Genre art and its depiction of ordinary people and everyday life emerged against this background.Pieter Bruegel the Elder began his career illustrating landscapes and fantastic scenes in a dense style that earned him a reputation as artistic heir to Hieronymus Bosch.  He soon came to follow the example of another master, Pieter Aertsen, who had made a name for himself in the 1550s depicting everyday scenes in a highly realistic style, such as the detailed array of meat products that dominate his large Butcher's Stall of 1551. Bruegel's subjects became more quotidian and his style observational.  He achieved fame for detailed, accurate and realistic portrayals of peasants, with whom his paintings were popular.  He painted on linen canvas and oak panel, and avoided scenes of magnificence and portraits of nobility or royalty.  The peasants Bruegel at first depicted were featureless and undifferentiated; as his work matured, their physiognomy became markedly more detailed and expressive.In 1563, Bruegel married Mayken, the daughter of his teacher Pieter Coecke van Aelst, and moved to Brussels, the seat of government in the Spanish Netherlands (1556–1714). In 1567 the governor of the Netherlands, the Duke of Alba, established the Council of Troubles (popularly called the "Blood Council") to suppress non-Catholic religions and enforce Spanish rule, leading to mass arrests and executions.   Whether Bruegel had Calvinist sympathies or intended a political message in The Blind is not clear, but the evidence indicates he likely held views critical of the Catholic Church.  A bitter, sorrowful tone characterizes his last works, such as The Blind and The Magpie on the Gallows.In ancient Greece the blind were depicted as having received gifts from the gods, and blind singers were held in high regard.  In mediaeval Europe, the blind were depicted as the subjects of miracles, such as Bartimaeus in the healing the blind near Jericho in Mark 10:46–52.  Following the Reformation, painted depictions of saints and miracles fell out of favour in Protestant areas.  In Catholic thought, charitable works of mercy, such as giving alms to the blind and poor, were good works which, together with faith, helped the salvation of the doer. However, the Protestant doctrine of sola fide rejected the efficacy of works in achieving salvation, prescribing that it depended on faith alone (and the complication of God's predestined will for each individual).  The status of charity for the poor and infirm diminished, and beggars saw their circumstances deteriorate.  In popular literature of the time, the blind were depicted as rogues or targets of pranks.  The parable of the blind leading the blind also appears as one of the illustrated proverbs in Bruegel's Netherlandish Proverbs (1559).

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: Focus on The Blind Leading the Blind and explain the Analysis.

Charles Bouleau wrote of the tension in Bruegel's compositional rhythms.  The picture is divided into nine equal parts divided by a set of parallel oblique lines.  These are divided by another network of lines at constant angles to the first.  The composition invites the reader to follow the action rather than dwell on the individual figures.  The blind men resemble each other in dress and facial features, and they appear as if they succeed one another in a single movement culminating in a fall, beginning on the left with "rambling, then hesitation, alarm, stumbling, and finally falling".  The succession of heads follows a curve, and the further the succession, the greater the space between heads, suggesting increasing speed.  The steep roofs of the background houses contribute to the composition's feeling of motion.Art historian Gustav Glück noted incongruities in that the beggars are well-dressed and carry staves and full purses.  Academics Kenneth C. Lindsay and Bernard Huppé suggest Bruegel may have implied that the blind men represent false priests who ignored Christ's admonitions not to carry gold, purses, or staves; the leader carries a hurdy-gurdy, a musical instrument associated with beggars in Bruegel's time; this perhaps implies a false minstrel, one who sings praises not for God.The church in the background, identified as St. Anna's Church at Dilbeek in modern Belgium, has sparked much commentary.  One view holds that the church is evidence of the painting's moralistic intent—that while the first two blind men stumble and are beyond redemption, the other four are behind the church and thus may be saved.  Another interpretation has it that the church, with a withered tree placed before it, is an anti-Catholic symbol, and that those who follow it will fall following a blind leader as do the men in the ditch.  Others deny any symbolism in the church, noting that churches frequently appear in Bruegel's village scenes as they were a common part of the village landscape.  Medical researcher Zeynel A. Karcioglu suggests the church represents indifference to the plight of the handicapped.In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures.  Critics Charcot and Richer wrote that the concept of visualizing movement was not formulated until the 17th century, and that Bruegel prefigures motion pictures and Duchamp's Nude Descending a Staircase, No. 2.  Karcioglu sees the painting as anticipating the 19th-century chronophotography of Étienne-Jules Marey.  Dutch film director Joris Ivens stated, "If Bruegel were alive today he would be a film director."

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: Explain the Analysis of this artwork, The Blind Leading the Blind.

Charles Bouleau wrote of the tension in Bruegel's compositional rhythms.  The picture is divided into nine equal parts divided by a set of parallel oblique lines.  These are divided by another network of lines at constant angles to the first.  The composition invites the reader to follow the action rather than dwell on the individual figures.  The blind men resemble each other in dress and facial features, and they appear as if they succeed one another in a single movement culminating in a fall, beginning on the left with "rambling, then hesitation, alarm, stumbling, and finally falling".  The succession of heads follows a curve, and the further the succession, the greater the space between heads, suggesting increasing speed.  The steep roofs of the background houses contribute to the composition's feeling of motion.Art historian Gustav Glück noted incongruities in that the beggars are well-dressed and carry staves and full purses.  Academics Kenneth C. Lindsay and Bernard Huppé suggest Bruegel may have implied that the blind men represent false priests who ignored Christ's admonitions not to carry gold, purses, or staves; the leader carries a hurdy-gurdy, a musical instrument associated with beggars in Bruegel's time; this perhaps implies a false minstrel, one who sings praises not for God.The church in the background, identified as St. Anna's Church at Dilbeek in modern Belgium, has sparked much commentary.  One view holds that the church is evidence of the painting's moralistic intent—that while the first two blind men stumble and are beyond redemption, the other four are behind the church and thus may be saved.  Another interpretation has it that the church, with a withered tree placed before it, is an anti-Catholic symbol, and that those who follow it will fall following a blind leader as do the men in the ditch.  Others deny any symbolism in the church, noting that churches frequently appear in Bruegel's village scenes as they were a common part of the village landscape.  Medical researcher Zeynel A. Karcioglu suggests the church represents indifference to the plight of the handicapped.In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures.  Critics Charcot and Richer wrote that the concept of visualizing movement was not formulated until the 17th century, and that Bruegel prefigures motion pictures and Duchamp's Nude Descending a Staircase, No. 2.  Karcioglu sees the painting as anticipating the 19th-century chronophotography of Étienne-Jules Marey.  Dutch film director Joris Ivens stated, "If Bruegel were alive today he would be a film director."

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: How does The Blind Leading the Blind explain its Analysis?

Charles Bouleau wrote of the tension in Bruegel's compositional rhythms.  The picture is divided into nine equal parts divided by a set of parallel oblique lines.  These are divided by another network of lines at constant angles to the first.  The composition invites the reader to follow the action rather than dwell on the individual figures.  The blind men resemble each other in dress and facial features, and they appear as if they succeed one another in a single movement culminating in a fall, beginning on the left with "rambling, then hesitation, alarm, stumbling, and finally falling".  The succession of heads follows a curve, and the further the succession, the greater the space between heads, suggesting increasing speed.  The steep roofs of the background houses contribute to the composition's feeling of motion.Art historian Gustav Glück noted incongruities in that the beggars are well-dressed and carry staves and full purses.  Academics Kenneth C. Lindsay and Bernard Huppé suggest Bruegel may have implied that the blind men represent false priests who ignored Christ's admonitions not to carry gold, purses, or staves; the leader carries a hurdy-gurdy, a musical instrument associated with beggars in Bruegel's time; this perhaps implies a false minstrel, one who sings praises not for God.The church in the background, identified as St. Anna's Church at Dilbeek in modern Belgium, has sparked much commentary.  One view holds that the church is evidence of the painting's moralistic intent—that while the first two blind men stumble and are beyond redemption, the other four are behind the church and thus may be saved.  Another interpretation has it that the church, with a withered tree placed before it, is an anti-Catholic symbol, and that those who follow it will fall following a blind leader as do the men in the ditch.  Others deny any symbolism in the church, noting that churches frequently appear in Bruegel's village scenes as they were a common part of the village landscape.  Medical researcher Zeynel A. Karcioglu suggests the church represents indifference to the plight of the handicapped.In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures.  Critics Charcot and Richer wrote that the concept of visualizing movement was not formulated until the 17th century, and that Bruegel prefigures motion pictures and Duchamp's Nude Descending a Staircase, No. 2.  Karcioglu sees the painting as anticipating the 19th-century chronophotography of Étienne-Jules Marey.  Dutch film director Joris Ivens stated, "If Bruegel were alive today he would be a film director."

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: In The Blind Leading the Blind, how is the Analysis discussed?

Charles Bouleau wrote of the tension in Bruegel's compositional rhythms.  The picture is divided into nine equal parts divided by a set of parallel oblique lines.  These are divided by another network of lines at constant angles to the first.  The composition invites the reader to follow the action rather than dwell on the individual figures.  The blind men resemble each other in dress and facial features, and they appear as if they succeed one another in a single movement culminating in a fall, beginning on the left with "rambling, then hesitation, alarm, stumbling, and finally falling".  The succession of heads follows a curve, and the further the succession, the greater the space between heads, suggesting increasing speed.  The steep roofs of the background houses contribute to the composition's feeling of motion.Art historian Gustav Glück noted incongruities in that the beggars are well-dressed and carry staves and full purses.  Academics Kenneth C. Lindsay and Bernard Huppé suggest Bruegel may have implied that the blind men represent false priests who ignored Christ's admonitions not to carry gold, purses, or staves; the leader carries a hurdy-gurdy, a musical instrument associated with beggars in Bruegel's time; this perhaps implies a false minstrel, one who sings praises not for God.The church in the background, identified as St. Anna's Church at Dilbeek in modern Belgium, has sparked much commentary.  One view holds that the church is evidence of the painting's moralistic intent—that while the first two blind men stumble and are beyond redemption, the other four are behind the church and thus may be saved.  Another interpretation has it that the church, with a withered tree placed before it, is an anti-Catholic symbol, and that those who follow it will fall following a blind leader as do the men in the ditch.  Others deny any symbolism in the church, noting that churches frequently appear in Bruegel's village scenes as they were a common part of the village landscape.  Medical researcher Zeynel A. Karcioglu suggests the church represents indifference to the plight of the handicapped.In contrast to the posed, static figures typical of paintings of the period, Bruegel suggests the trajectory of time and space through the accelerated movement of the figures.  Critics Charcot and Richer wrote that the concept of visualizing movement was not formulated until the 17th century, and that Bruegel prefigures motion pictures and Duchamp's Nude Descending a Staircase, No. 2.  Karcioglu sees the painting as anticipating the 19th-century chronophotography of Étienne-Jules Marey.  Dutch film director Joris Ivens stated, "If Bruegel were alive today he would be a film director."

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: Focus on The Blind Leading the Blind and explain the Legacy.

The Blind Leading the Blind has been considered one of the great masterpieces of painting.  Bruegel's is the earliest surviving painting whose subject is the parable of the blind leading the blind, though there are earlier engravings from the Low Countries known that Bruegel was likely aware of, including one attributed to Bosch, and another by Cornelis Massijs.  Bruegel's paintings have enjoyed worldwide popularity and have been the subjects of scholarly works in disciplines even outside the arts, such as medicine.Bruegel's depictions of beggars in paintings such as The Blind Leading the Blind left a strong influence on those who followed him, such as David Vinckboons. Hieronymus Wierix incorporated a copy of The Blind Leading the Blind into the series Twelve Flemish Proverbs.  A forgery attributed to Jacob Savery called The Blind appeared c. 1600 bearing a false inscription dating it 1562.  Bruegel's son Pieter Brueghel the Younger painted a larger copy in c. 1616 with extra details, including a flock of sheep, that hangs in the Louvre; this copy was in the collection of Ferdinando Gonzaga, Duke of Mantua, patron of Italian Baroque painter Domenico Fetti, who may have been influenced by the painting when he executed his own version of the parable around 1621–22.Paintings inspired by Bruegel's The Blind Leading the BlindThe painting has been the subject of poetry, including works by the Germans Josef Weinheber and Walter Bauer, and Frenchman Charles Baudelaire's "The Blind". American William Carlos Williams wrote a series of poems on Bruegel's paintings; his "Parable of the Blind" focuses on the meaning of The Blind's composition—a word that appears three times in the poems eight tercets.  The figures stumble diagonally downward, and—                         ... onefollows the other stick inhand triumphant to disasterBruegel's painting served as a model for Belgian playwright Maurice Maeterlinck's one-act The Blind. West German writer Gert Hofmann's 1985 novel The Parable of the Blind features Bruegel and the six blind men: to accomplish a realistic portrayal, Bruegel repeatedly has the men cross a bridge and fall into a creek in midwinter until their expressions achieve the desolation Bruegel believes represents the human condition. A 1987 historical novel Bruegel, or the Workshop of Dreams by Claude-Henri Rocquet has Bruegel painting the blind out of fear of losing his own eyesight.French cartoonist F'Murr's comic strip Les Aveugles (1991) was inspired by Bruegel's painting.

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: Explain the Legacy of this artwork, The Blind Leading the Blind.

The Blind Leading the Blind has been considered one of the great masterpieces of painting.  Bruegel's is the earliest surviving painting whose subject is the parable of the blind leading the blind, though there are earlier engravings from the Low Countries known that Bruegel was likely aware of, including one attributed to Bosch, and another by Cornelis Massijs.  Bruegel's paintings have enjoyed worldwide popularity and have been the subjects of scholarly works in disciplines even outside the arts, such as medicine.Bruegel's depictions of beggars in paintings such as The Blind Leading the Blind left a strong influence on those who followed him, such as David Vinckboons. Hieronymus Wierix incorporated a copy of The Blind Leading the Blind into the series Twelve Flemish Proverbs.  A forgery attributed to Jacob Savery called The Blind appeared c. 1600 bearing a false inscription dating it 1562.  Bruegel's son Pieter Brueghel the Younger painted a larger copy in c. 1616 with extra details, including a flock of sheep, that hangs in the Louvre; this copy was in the collection of Ferdinando Gonzaga, Duke of Mantua, patron of Italian Baroque painter Domenico Fetti, who may have been influenced by the painting when he executed his own version of the parable around 1621–22.Paintings inspired by Bruegel's The Blind Leading the BlindThe painting has been the subject of poetry, including works by the Germans Josef Weinheber and Walter Bauer, and Frenchman Charles Baudelaire's "The Blind". American William Carlos Williams wrote a series of poems on Bruegel's paintings; his "Parable of the Blind" focuses on the meaning of The Blind's composition—a word that appears three times in the poems eight tercets.  The figures stumble diagonally downward, and—                         ... onefollows the other stick inhand triumphant to disasterBruegel's painting served as a model for Belgian playwright Maurice Maeterlinck's one-act The Blind. West German writer Gert Hofmann's 1985 novel The Parable of the Blind features Bruegel and the six blind men: to accomplish a realistic portrayal, Bruegel repeatedly has the men cross a bridge and fall into a creek in midwinter until their expressions achieve the desolation Bruegel believes represents the human condition. A 1987 historical novel Bruegel, or the Workshop of Dreams by Claude-Henri Rocquet has Bruegel painting the blind out of fear of losing his own eyesight.French cartoonist F'Murr's comic strip Les Aveugles (1991) was inspired by Bruegel's painting.

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: How does The Blind Leading the Blind explain its Legacy?

The Blind Leading the Blind has been considered one of the great masterpieces of painting.  Bruegel's is the earliest surviving painting whose subject is the parable of the blind leading the blind, though there are earlier engravings from the Low Countries known that Bruegel was likely aware of, including one attributed to Bosch, and another by Cornelis Massijs.  Bruegel's paintings have enjoyed worldwide popularity and have been the subjects of scholarly works in disciplines even outside the arts, such as medicine.Bruegel's depictions of beggars in paintings such as The Blind Leading the Blind left a strong influence on those who followed him, such as David Vinckboons. Hieronymus Wierix incorporated a copy of The Blind Leading the Blind into the series Twelve Flemish Proverbs.  A forgery attributed to Jacob Savery called The Blind appeared c. 1600 bearing a false inscription dating it 1562.  Bruegel's son Pieter Brueghel the Younger painted a larger copy in c. 1616 with extra details, including a flock of sheep, that hangs in the Louvre; this copy was in the collection of Ferdinando Gonzaga, Duke of Mantua, patron of Italian Baroque painter Domenico Fetti, who may have been influenced by the painting when he executed his own version of the parable around 1621–22.Paintings inspired by Bruegel's The Blind Leading the BlindThe painting has been the subject of poetry, including works by the Germans Josef Weinheber and Walter Bauer, and Frenchman Charles Baudelaire's "The Blind". American William Carlos Williams wrote a series of poems on Bruegel's paintings; his "Parable of the Blind" focuses on the meaning of The Blind's composition—a word that appears three times in the poems eight tercets.  The figures stumble diagonally downward, and—                         ... onefollows the other stick inhand triumphant to disasterBruegel's painting served as a model for Belgian playwright Maurice Maeterlinck's one-act The Blind. West German writer Gert Hofmann's 1985 novel The Parable of the Blind features Bruegel and the six blind men: to accomplish a realistic portrayal, Bruegel repeatedly has the men cross a bridge and fall into a creek in midwinter until their expressions achieve the desolation Bruegel believes represents the human condition. A 1987 historical novel Bruegel, or the Workshop of Dreams by Claude-Henri Rocquet has Bruegel painting the blind out of fear of losing his own eyesight.French cartoonist F'Murr's comic strip Les Aveugles (1991) was inspired by Bruegel's painting.

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: In The Blind Leading the Blind, how is the Legacy discussed?

The Blind Leading the Blind has been considered one of the great masterpieces of painting.  Bruegel's is the earliest surviving painting whose subject is the parable of the blind leading the blind, though there are earlier engravings from the Low Countries known that Bruegel was likely aware of, including one attributed to Bosch, and another by Cornelis Massijs.  Bruegel's paintings have enjoyed worldwide popularity and have been the subjects of scholarly works in disciplines even outside the arts, such as medicine.Bruegel's depictions of beggars in paintings such as The Blind Leading the Blind left a strong influence on those who followed him, such as David Vinckboons. Hieronymus Wierix incorporated a copy of The Blind Leading the Blind into the series Twelve Flemish Proverbs.  A forgery attributed to Jacob Savery called The Blind appeared c. 1600 bearing a false inscription dating it 1562.  Bruegel's son Pieter Brueghel the Younger painted a larger copy in c. 1616 with extra details, including a flock of sheep, that hangs in the Louvre; this copy was in the collection of Ferdinando Gonzaga, Duke of Mantua, patron of Italian Baroque painter Domenico Fetti, who may have been influenced by the painting when he executed his own version of the parable around 1621–22.Paintings inspired by Bruegel's The Blind Leading the BlindThe painting has been the subject of poetry, including works by the Germans Josef Weinheber and Walter Bauer, and Frenchman Charles Baudelaire's "The Blind". American William Carlos Williams wrote a series of poems on Bruegel's paintings; his "Parable of the Blind" focuses on the meaning of The Blind's composition—a word that appears three times in the poems eight tercets.  The figures stumble diagonally downward, and—                         ... onefollows the other stick inhand triumphant to disasterBruegel's painting served as a model for Belgian playwright Maurice Maeterlinck's one-act The Blind. West German writer Gert Hofmann's 1985 novel The Parable of the Blind features Bruegel and the six blind men: to accomplish a realistic portrayal, Bruegel repeatedly has the men cross a bridge and fall into a creek in midwinter until their expressions achieve the desolation Bruegel believes represents the human condition. A 1987 historical novel Bruegel, or the Workshop of Dreams by Claude-Henri Rocquet has Bruegel painting the blind out of fear of losing his own eyesight.French cartoonist F'Murr's comic strip Les Aveugles (1991) was inspired by Bruegel's painting.

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: Focus on The Blind Leading the Blind and explain the Provenance.

The Blind Leading the Blind and The Misanthrope were discovered in the collection of the Count Giovanni Battista Masi of Parma in 1612, when Ranuccio I Farnese, Duke of Parma confiscated Masi's property for his part in a conspiracy against the House of Farnese.  How the painting arrived in Italy is uncertain, though it is known that Masi's father Cosimo returned from the Netherlands in 1595 with a number of Netherlandish paintings.  The Farnese art collection came to be one of the largest of the Renaissance era, divided amongst the Farnese residences in Parma and Rome.In the 18th century, Charles III of Spain inherited the collection from his mother, Elisabeth Farnese, heiress of the Duchy of Parma in north Italy, who became Queen consort of Spain.  As a younger son, Charles had been made Duke of Parma, then boldly seized the Kingdom of Naples, becoming Charles VII of Naples, before inheriting the Spanish throne.  Charles housed the collection in what is now the National Museum of Capodimonte in Naples.  The painting hangs in the Capodimonte with The Misanthrope, as part of the Farnese collection.

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: Explain the Provenance of this artwork, The Blind Leading the Blind.

The Blind Leading the Blind and The Misanthrope were discovered in the collection of the Count Giovanni Battista Masi of Parma in 1612, when Ranuccio I Farnese, Duke of Parma confiscated Masi's property for his part in a conspiracy against the House of Farnese.  How the painting arrived in Italy is uncertain, though it is known that Masi's father Cosimo returned from the Netherlands in 1595 with a number of Netherlandish paintings.  The Farnese art collection came to be one of the largest of the Renaissance era, divided amongst the Farnese residences in Parma and Rome.In the 18th century, Charles III of Spain inherited the collection from his mother, Elisabeth Farnese, heiress of the Duchy of Parma in north Italy, who became Queen consort of Spain.  As a younger son, Charles had been made Duke of Parma, then boldly seized the Kingdom of Naples, becoming Charles VII of Naples, before inheriting the Spanish throne.  Charles housed the collection in what is now the National Museum of Capodimonte in Naples.  The painting hangs in the Capodimonte with The Misanthrope, as part of the Farnese collection.

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: How does The Blind Leading the Blind explain its Provenance?

The Blind Leading the Blind and The Misanthrope were discovered in the collection of the Count Giovanni Battista Masi of Parma in 1612, when Ranuccio I Farnese, Duke of Parma confiscated Masi's property for his part in a conspiracy against the House of Farnese.  How the painting arrived in Italy is uncertain, though it is known that Masi's father Cosimo returned from the Netherlands in 1595 with a number of Netherlandish paintings.  The Farnese art collection came to be one of the largest of the Renaissance era, divided amongst the Farnese residences in Parma and Rome.In the 18th century, Charles III of Spain inherited the collection from his mother, Elisabeth Farnese, heiress of the Duchy of Parma in north Italy, who became Queen consort of Spain.  As a younger son, Charles had been made Duke of Parma, then boldly seized the Kingdom of Naples, becoming Charles VII of Naples, before inheriting the Spanish throne.  Charles housed the collection in what is now the National Museum of Capodimonte in Naples.  The painting hangs in the Capodimonte with The Misanthrope, as part of the Farnese collection.

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


The Blind Leading the Blind

Prompt: In The Blind Leading the Blind, how is the Provenance discussed?

The Blind Leading the Blind and The Misanthrope were discovered in the collection of the Count Giovanni Battista Masi of Parma in 1612, when Ranuccio I Farnese, Duke of Parma confiscated Masi's property for his part in a conspiracy against the House of Farnese.  How the painting arrived in Italy is uncertain, though it is known that Masi's father Cosimo returned from the Netherlands in 1595 with a number of Netherlandish paintings.  The Farnese art collection came to be one of the largest of the Renaissance era, divided amongst the Farnese residences in Parma and Rome.In the 18th century, Charles III of Spain inherited the collection from his mother, Elisabeth Farnese, heiress of the Duchy of Parma in north Italy, who became Queen consort of Spain.  As a younger son, Charles had been made Duke of Parma, then boldly seized the Kingdom of Naples, becoming Charles VII of Naples, before inheriting the Spanish throne.  Charles housed the collection in what is now the National Museum of Capodimonte in Naples.  The painting hangs in the Capodimonte with The Misanthrope, as part of the Farnese collection.

File:Der Blindensturz (Ausschnitt 2).jpg

category:Allegorical paintings by Dutch artists

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3516.jpg

Detail of the second blind man falling. Ophthalmologists have determined his [[Enucleation of the eye

alt=A black-and-white illustration of a chaotic scene

alt=Detail of a painting. A man with no eyes and a white hat stumbles.

alt=Detailed painting of a variety of meat products in a Renaissance-era butcher's stall

The diagonal composition creates tension and gives a sense of movement.

Category:Paintings in the Museo di Capodimonte

alt=Painting detail of a church. Its steeple is to the left. A withered tree stands before the church.

Fernando Álvarez de Toledo, 3rd Duke of Alba

File:A Meat Stall with the Holy Family Giving Alms - Pieter Aertsen - Google Cultural Institute.jpg

alt=Painting of a busy village scene; a detail in the background of a procession of three blind men is highlighted

alt=A painting of six blind men stumbling; a diagonal grid overlays the image

Bruegel demonstrates mastery of [[foreshortening

:File:Cornelis Massijs - Four Blind Peasants.tiff

alt=Painting detail of a man stumbling onto his back away from the viewer.

Category:Paintings of people with visual impairments

The Journal of Aesthetics and Art Criticism

List of paintings by Pieter Bruegel the Elder

File:Brueghel - Sieben Laster - Gula.jpg

Category:Paintings based on New Testament parables

''Gluttony'', Bruegel, 1558. This early work follows the busy, fantastical work of [[Hieronymus Bosch

Bruegel earlier depicted [[the blind leading the blind

Category:Paintings by Pieter Bruegel the Elder

File:Pieter Bruegel the Elder - The Blind Leading the Blind - composition analysis.jpg

File:Pieter Bruegel the Elder - Netherlandish Proverbs - detail of blind men.jpg

File:Pieter Bruegel the Elder - The Parable of the Blind Leading the Blind (detail) - WGA3517.jpg

:File:Pieter van der Heyden 001 Rijksmuseum Amsterdam 01.jpg


Ulysses S. Grant Memorial

Prompt: Focus on Ulysses S. Grant Memorial and explain the abstract.

The Ulysses S. Grant Memorial is a presidential memorial in Washington, D.C., honoring American Civil War general and 18th president of the United States, Ulysses S. Grant. It sits at the base of Capitol Hill (Union Square, the Mall, 1st Street NW/SW, between Pennsylvania Avenue and Maryland Avenue), below the west front of the United States Capitol. Its central sculpture of Grant on horseback faces west, overlooking the Capitol Reflecting Pool and facing toward the Lincoln Memorial, which honors Grant's wartime president, Abraham Lincoln. Grant's statue is raised on a pedestal decorated with bronze reliefs of the infantry; flanking pedestals hold statues of protective lions and bronze representations of the Union cavalry and artillery. The whole is connected with marble covered platforms, balustrades, and stairs. The Grant and Lincoln memorials define the eastern and western ends, respectively, of the National Mall.The Grant Memorial is a contributor to the Civil War Monuments in Washington, D.C., of the National Register of Historic Places. James M. Goode's authoritative The Grant Memorial in Washington, D.C. (1974) called it "one of the most important sculptures in Washington." It includes the largest equestrian statue in the United States and the fifth-largest in the world.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: Explain the abstract of this artwork, Ulysses S. Grant Memorial.

The Ulysses S. Grant Memorial is a presidential memorial in Washington, D.C., honoring American Civil War general and 18th president of the United States, Ulysses S. Grant. It sits at the base of Capitol Hill (Union Square, the Mall, 1st Street NW/SW, between Pennsylvania Avenue and Maryland Avenue), below the west front of the United States Capitol. Its central sculpture of Grant on horseback faces west, overlooking the Capitol Reflecting Pool and facing toward the Lincoln Memorial, which honors Grant's wartime president, Abraham Lincoln. Grant's statue is raised on a pedestal decorated with bronze reliefs of the infantry; flanking pedestals hold statues of protective lions and bronze representations of the Union cavalry and artillery. The whole is connected with marble covered platforms, balustrades, and stairs. The Grant and Lincoln memorials define the eastern and western ends, respectively, of the National Mall.The Grant Memorial is a contributor to the Civil War Monuments in Washington, D.C., of the National Register of Historic Places. James M. Goode's authoritative The Grant Memorial in Washington, D.C. (1974) called it "one of the most important sculptures in Washington." It includes the largest equestrian statue in the United States and the fifth-largest in the world.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: How does Ulysses S. Grant Memorial explain its abstract?

The Ulysses S. Grant Memorial is a presidential memorial in Washington, D.C., honoring American Civil War general and 18th president of the United States, Ulysses S. Grant. It sits at the base of Capitol Hill (Union Square, the Mall, 1st Street NW/SW, between Pennsylvania Avenue and Maryland Avenue), below the west front of the United States Capitol. Its central sculpture of Grant on horseback faces west, overlooking the Capitol Reflecting Pool and facing toward the Lincoln Memorial, which honors Grant's wartime president, Abraham Lincoln. Grant's statue is raised on a pedestal decorated with bronze reliefs of the infantry; flanking pedestals hold statues of protective lions and bronze representations of the Union cavalry and artillery. The whole is connected with marble covered platforms, balustrades, and stairs. The Grant and Lincoln memorials define the eastern and western ends, respectively, of the National Mall.The Grant Memorial is a contributor to the Civil War Monuments in Washington, D.C., of the National Register of Historic Places. James M. Goode's authoritative The Grant Memorial in Washington, D.C. (1974) called it "one of the most important sculptures in Washington." It includes the largest equestrian statue in the United States and the fifth-largest in the world.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: In Ulysses S. Grant Memorial, how is the abstract discussed?

The Ulysses S. Grant Memorial is a presidential memorial in Washington, D.C., honoring American Civil War general and 18th president of the United States, Ulysses S. Grant. It sits at the base of Capitol Hill (Union Square, the Mall, 1st Street NW/SW, between Pennsylvania Avenue and Maryland Avenue), below the west front of the United States Capitol. Its central sculpture of Grant on horseback faces west, overlooking the Capitol Reflecting Pool and facing toward the Lincoln Memorial, which honors Grant's wartime president, Abraham Lincoln. Grant's statue is raised on a pedestal decorated with bronze reliefs of the infantry; flanking pedestals hold statues of protective lions and bronze representations of the Union cavalry and artillery. The whole is connected with marble covered platforms, balustrades, and stairs. The Grant and Lincoln memorials define the eastern and western ends, respectively, of the National Mall.The Grant Memorial is a contributor to the Civil War Monuments in Washington, D.C., of the National Register of Historic Places. James M. Goode's authoritative The Grant Memorial in Washington, D.C. (1974) called it "one of the most important sculptures in Washington." It includes the largest equestrian statue in the United States and the fifth-largest in the world.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: Focus on Ulysses S. Grant Memorial and explain the Description.

The Grant Memorial is in Union Square, which also encompasses the Capitol Reflecting Pool. The platform for the Monument, made of Vermont marble, is 252 feet (77 m) long and 71 feet (22 m) wide and is divided into three sections.  The tall, middle section features a 10,700-pound, 17-foot-2-inch (5.23 m) high equestrian statue depicting Grant astride his war horse Cincinnati on a 22½-foot high marble pedestal.A striking feature of the central statue is Grant's calm (almost disaffected) attitude amidst the raging fighting going on around him.  This is not surprising because Grant was known for his calmness and coolheadedness during battle. In sharp contrast to Grant are the sculpture groups on either side, Cavalry Charge and Artillery, which... possess more dramatic interest and suspense than any sculpture in the city and, indeed, in the Nation.Surrounding the main pedestal are four shorter pedestals, each supporting a bronze lion in repose guarding both the United States flag and the flags of the Army. The memorial was the largest bronze sculpture cast in the United States at that time.The Artillery Group to the south shows a caisson carrying three artillerymen and pulled by three horses. Astride the horse on the left is the guidon (flag) carrier who is signaling a sharp right wheel. Despite the impending course change the horse on the right is able to continue lunging forward due to a broken strap on the right bridle bit. To the north the Cavalry Group depicts a color squad consisting of seven cavalrymen charging into battle. The horse on the right has fallen and the rider, modeled after Shrady himself, is moments from being trampled by the onrushing horses.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: Explain the Description of this artwork, Ulysses S. Grant Memorial.

The Grant Memorial is in Union Square, which also encompasses the Capitol Reflecting Pool. The platform for the Monument, made of Vermont marble, is 252 feet (77 m) long and 71 feet (22 m) wide and is divided into three sections.  The tall, middle section features a 10,700-pound, 17-foot-2-inch (5.23 m) high equestrian statue depicting Grant astride his war horse Cincinnati on a 22½-foot high marble pedestal.A striking feature of the central statue is Grant's calm (almost disaffected) attitude amidst the raging fighting going on around him.  This is not surprising because Grant was known for his calmness and coolheadedness during battle. In sharp contrast to Grant are the sculpture groups on either side, Cavalry Charge and Artillery, which... possess more dramatic interest and suspense than any sculpture in the city and, indeed, in the Nation.Surrounding the main pedestal are four shorter pedestals, each supporting a bronze lion in repose guarding both the United States flag and the flags of the Army. The memorial was the largest bronze sculpture cast in the United States at that time.The Artillery Group to the south shows a caisson carrying three artillerymen and pulled by three horses. Astride the horse on the left is the guidon (flag) carrier who is signaling a sharp right wheel. Despite the impending course change the horse on the right is able to continue lunging forward due to a broken strap on the right bridle bit. To the north the Cavalry Group depicts a color squad consisting of seven cavalrymen charging into battle. The horse on the right has fallen and the rider, modeled after Shrady himself, is moments from being trampled by the onrushing horses.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: How does Ulysses S. Grant Memorial explain its Description?

The Grant Memorial is in Union Square, which also encompasses the Capitol Reflecting Pool. The platform for the Monument, made of Vermont marble, is 252 feet (77 m) long and 71 feet (22 m) wide and is divided into three sections.  The tall, middle section features a 10,700-pound, 17-foot-2-inch (5.23 m) high equestrian statue depicting Grant astride his war horse Cincinnati on a 22½-foot high marble pedestal.A striking feature of the central statue is Grant's calm (almost disaffected) attitude amidst the raging fighting going on around him.  This is not surprising because Grant was known for his calmness and coolheadedness during battle. In sharp contrast to Grant are the sculpture groups on either side, Cavalry Charge and Artillery, which... possess more dramatic interest and suspense than any sculpture in the city and, indeed, in the Nation.Surrounding the main pedestal are four shorter pedestals, each supporting a bronze lion in repose guarding both the United States flag and the flags of the Army. The memorial was the largest bronze sculpture cast in the United States at that time.The Artillery Group to the south shows a caisson carrying three artillerymen and pulled by three horses. Astride the horse on the left is the guidon (flag) carrier who is signaling a sharp right wheel. Despite the impending course change the horse on the right is able to continue lunging forward due to a broken strap on the right bridle bit. To the north the Cavalry Group depicts a color squad consisting of seven cavalrymen charging into battle. The horse on the right has fallen and the rider, modeled after Shrady himself, is moments from being trampled by the onrushing horses.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: In Ulysses S. Grant Memorial, how is the Description discussed?

The Grant Memorial is in Union Square, which also encompasses the Capitol Reflecting Pool. The platform for the Monument, made of Vermont marble, is 252 feet (77 m) long and 71 feet (22 m) wide and is divided into three sections.  The tall, middle section features a 10,700-pound, 17-foot-2-inch (5.23 m) high equestrian statue depicting Grant astride his war horse Cincinnati on a 22½-foot high marble pedestal.A striking feature of the central statue is Grant's calm (almost disaffected) attitude amidst the raging fighting going on around him.  This is not surprising because Grant was known for his calmness and coolheadedness during battle. In sharp contrast to Grant are the sculpture groups on either side, Cavalry Charge and Artillery, which... possess more dramatic interest and suspense than any sculpture in the city and, indeed, in the Nation.Surrounding the main pedestal are four shorter pedestals, each supporting a bronze lion in repose guarding both the United States flag and the flags of the Army. The memorial was the largest bronze sculpture cast in the United States at that time.The Artillery Group to the south shows a caisson carrying three artillerymen and pulled by three horses. Astride the horse on the left is the guidon (flag) carrier who is signaling a sharp right wheel. Despite the impending course change the horse on the right is able to continue lunging forward due to a broken strap on the right bridle bit. To the north the Cavalry Group depicts a color squad consisting of seven cavalrymen charging into battle. The horse on the right has fallen and the rider, modeled after Shrady himself, is moments from being trampled by the onrushing horses.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: Focus on Ulysses S. Grant Memorial and explain the History.

The drive to erect a monument to Grant was begun in the 1890s by the Society of the Army of the Tennessee.Work on the memorial was begun in 1902 as the largest ever commissioned by Congress at the time, was created by sculptor Henry Merwin Shrady and architect Edward Pearce Casey. Sculptor Edmond Amateis assisted Shrady as the monument neared completion in 1921. Shrady spent 20 years of his life working on the memorial and died, stressed and overworked, two weeks before its dedication in 1922.The sculptures were cast in bronze at the Roman Bronze Works in New York. Construction on the site of the memorial began in 1909 when the marble superstructure and the four bronze lions were installed. The Artillery Group was installed in 1912, the Cavalry Group in 1916, and the bronze equestrian statue of Grant in 1920. The memorial was dedicated on the 100th anniversary of Grant's birth, April 27, 1922. Shrady having died, the infantry panels on the base of Grant's pedestal were completed by sculptor Sherry Fry based on Shrady's sketches and installed in 1924. The Grant Memorial composes the center of a three-part sculptural group including the James A. Garfield Monument to the south and the Peace Monument to the north.During 2015 and 2016 a cleaning and restoration program was carried out on the memorial. This included the replacement of 150 elements of the work, such as swords and scabbards, that had gone missing or been stolen over the years. The layer of green corrosion on the memorial's bronze was removed to return it to its original brown color.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: Explain the History of this artwork, Ulysses S. Grant Memorial.

The drive to erect a monument to Grant was begun in the 1890s by the Society of the Army of the Tennessee.Work on the memorial was begun in 1902 as the largest ever commissioned by Congress at the time, was created by sculptor Henry Merwin Shrady and architect Edward Pearce Casey. Sculptor Edmond Amateis assisted Shrady as the monument neared completion in 1921. Shrady spent 20 years of his life working on the memorial and died, stressed and overworked, two weeks before its dedication in 1922.The sculptures were cast in bronze at the Roman Bronze Works in New York. Construction on the site of the memorial began in 1909 when the marble superstructure and the four bronze lions were installed. The Artillery Group was installed in 1912, the Cavalry Group in 1916, and the bronze equestrian statue of Grant in 1920. The memorial was dedicated on the 100th anniversary of Grant's birth, April 27, 1922. Shrady having died, the infantry panels on the base of Grant's pedestal were completed by sculptor Sherry Fry based on Shrady's sketches and installed in 1924. The Grant Memorial composes the center of a three-part sculptural group including the James A. Garfield Monument to the south and the Peace Monument to the north.During 2015 and 2016 a cleaning and restoration program was carried out on the memorial. This included the replacement of 150 elements of the work, such as swords and scabbards, that had gone missing or been stolen over the years. The layer of green corrosion on the memorial's bronze was removed to return it to its original brown color.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: How does Ulysses S. Grant Memorial explain its History?

The drive to erect a monument to Grant was begun in the 1890s by the Society of the Army of the Tennessee.Work on the memorial was begun in 1902 as the largest ever commissioned by Congress at the time, was created by sculptor Henry Merwin Shrady and architect Edward Pearce Casey. Sculptor Edmond Amateis assisted Shrady as the monument neared completion in 1921. Shrady spent 20 years of his life working on the memorial and died, stressed and overworked, two weeks before its dedication in 1922.The sculptures were cast in bronze at the Roman Bronze Works in New York. Construction on the site of the memorial began in 1909 when the marble superstructure and the four bronze lions were installed. The Artillery Group was installed in 1912, the Cavalry Group in 1916, and the bronze equestrian statue of Grant in 1920. The memorial was dedicated on the 100th anniversary of Grant's birth, April 27, 1922. Shrady having died, the infantry panels on the base of Grant's pedestal were completed by sculptor Sherry Fry based on Shrady's sketches and installed in 1924. The Grant Memorial composes the center of a three-part sculptural group including the James A. Garfield Monument to the south and the Peace Monument to the north.During 2015 and 2016 a cleaning and restoration program was carried out on the memorial. This included the replacement of 150 elements of the work, such as swords and scabbards, that had gone missing or been stolen over the years. The layer of green corrosion on the memorial's bronze was removed to return it to its original brown color.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


Ulysses S. Grant Memorial

Prompt: In Ulysses S. Grant Memorial, how is the History discussed?

The drive to erect a monument to Grant was begun in the 1890s by the Society of the Army of the Tennessee.Work on the memorial was begun in 1902 as the largest ever commissioned by Congress at the time, was created by sculptor Henry Merwin Shrady and architect Edward Pearce Casey. Sculptor Edmond Amateis assisted Shrady as the monument neared completion in 1921. Shrady spent 20 years of his life working on the memorial and died, stressed and overworked, two weeks before its dedication in 1922.The sculptures were cast in bronze at the Roman Bronze Works in New York. Construction on the site of the memorial began in 1909 when the marble superstructure and the four bronze lions were installed. The Artillery Group was installed in 1912, the Cavalry Group in 1916, and the bronze equestrian statue of Grant in 1920. The memorial was dedicated on the 100th anniversary of Grant's birth, April 27, 1922. Shrady having died, the infantry panels on the base of Grant's pedestal were completed by sculptor Sherry Fry based on Shrady's sketches and installed in 1924. The Grant Memorial composes the center of a three-part sculptural group including the James A. Garfield Monument to the south and the Peace Monument to the north.During 2015 and 2016 a cleaning and restoration program was carried out on the memorial. This included the replacement of 150 elements of the work, such as swords and scabbards, that had gone missing or been stolen over the years. The layer of green corrosion on the memorial's bronze was removed to return it to its original brown color.

Category:Bronze sculptures in Washington, D.C.

List of sculptures of presidents of the United States

Category:Colossal statues in the United States

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Presidential memorials in the United States

Category:Civil War Monuments in Washington, D.C.

Category:Equestrian statues in Washington, D.C.

Category:Historic district contributing properties in Washington, D.C.

List of public art in Washington, D.C., Ward 6

Category:Sculptures of lions in the United States

Category:1922 establishments in Washington, D.C.

The central, equestrian statue of Grant with one of the four lions (2017)

Statue of Ulysses S. Grant (U.S. Capitol)


The Dog (Goya)

Prompt: Focus on The Dog (Goya) and explain the abstract.

The Dog (Spanish: El Perro) is the name usually given to a painting by Spanish artist Francisco de Goya, now in the Museo del Prado, Madrid. It shows the head of a dog gazing upwards. The dog itself is almost lost in the vastness of the rest of the image, which is empty except for a dark sloping area near the bottom of the picture: an unidentifiable mass which conceals the animal's body. The placard for The Dog painting in The Prado indicates the dog is in distress, quite literally, drowning.The Dog is one of Goya's Black Paintings, which he painted directly onto the walls of his house sometime between 1819 and 1823 when he was in his mid-70s, living alone and suffering from acute mental and physical distress. He did not intend the paintings for public exhibition, and they were not removed from the house until 50 years after Goya had left.

Category:Paintings by Francisco Goya in the Museo del Prado


The Dog (Goya)

Prompt: Explain the abstract of this artwork, The Dog (Goya).

The Dog (Spanish: El Perro) is the name usually given to a painting by Spanish artist Francisco de Goya, now in the Museo del Prado, Madrid. It shows the head of a dog gazing upwards. The dog itself is almost lost in the vastness of the rest of the image, which is empty except for a dark sloping area near the bottom of the picture: an unidentifiable mass which conceals the animal's body. The placard for The Dog painting in The Prado indicates the dog is in distress, quite literally, drowning.The Dog is one of Goya's Black Paintings, which he painted directly onto the walls of his house sometime between 1819 and 1823 when he was in his mid-70s, living alone and suffering from acute mental and physical distress. He did not intend the paintings for public exhibition, and they were not removed from the house until 50 years after Goya had left.

Category:Paintings by Francisco Goya in the Museo del Prado


The Dog (Goya)

Prompt: How does The Dog (Goya) explain its abstract?

The Dog (Spanish: El Perro) is the name usually given to a painting by Spanish artist Francisco de Goya, now in the Museo del Prado, Madrid. It shows the head of a dog gazing upwards. The dog itself is almost lost in the vastness of the rest of the image, which is empty except for a dark sloping area near the bottom of the picture: an unidentifiable mass which conceals the animal's body. The placard for The Dog painting in The Prado indicates the dog is in distress, quite literally, drowning.The Dog is one of Goya's Black Paintings, which he painted directly onto the walls of his house sometime between 1819 and 1823 when he was in his mid-70s, living alone and suffering from acute mental and physical distress. He did not intend the paintings for public exhibition, and they were not removed from the house until 50 years after Goya had left.

Category:Paintings by Francisco Goya in the Museo del Prado


The Dog (Goya)

Prompt: In The Dog (Goya), how is the abstract discussed?

The Dog (Spanish: El Perro) is the name usually given to a painting by Spanish artist Francisco de Goya, now in the Museo del Prado, Madrid. It shows the head of a dog gazing upwards. The dog itself is almost lost in the vastness of the rest of the image, which is empty except for a dark sloping area near the bottom of the picture: an unidentifiable mass which conceals the animal's body. The placard for The Dog painting in The Prado indicates the dog is in distress, quite literally, drowning.The Dog is one of Goya's Black Paintings, which he painted directly onto the walls of his house sometime between 1819 and 1823 when he was in his mid-70s, living alone and suffering from acute mental and physical distress. He did not intend the paintings for public exhibition, and they were not removed from the house until 50 years after Goya had left.

Category:Paintings by Francisco Goya in the Museo del Prado


The Dog (Goya)

Prompt: Focus on The Dog (Goya) and explain the Background.

In 1819, Goya purchased a house named Quinta del Sordo (Villa of the Deaf Man) on the banks of the Manzanares near Madrid. It was a small two-story house which was named after a previous occupant who had been deaf, though Goya also happened to be functionally deaf, as a result of an illness he had contracted (probably lead poisoning) in 1792. Between 1819 and 1823, when he moved to Bordeaux, Goya produced a series of 14 works, which he painted with oils directly onto the walls of the house.At the age of 73, and having survived two life-threatening illnesses, Goya was likely to have been concerned with his own mortality, and was increasingly embittered by the conflicts that had engulfed Spain in the decade preceding his move to the Quinta del Sordo, and the developing civil strife—indeed, Goya was completing the plates that formed his series The Disasters of War during this period. Although he initially decorated the rooms of the house with more inspiring images, in time he overpainted all of them with the intense, haunting pictures known today as the Black Paintings. Uncommissioned and never meant for public display, these pictures reflect his darkening mood with their depictions of intense scenes of malevolence, conflict, and despair.If Goya gave titles to the works he produced at the Quinta del Sordo he never revealed what they were; the names by which they are now known were assigned by others after his death, and this painting is often identified by variations on the common title: A Dog, Head of a Dog, The Buried Dog, The Half-Drowned Dog, The Half-Submerged Dog; more colloquially as "Goya's Dog"; or by the Spanish names El Perro or Perro Semihundido.

Category:Paintings by Francisco Goya in the Museo del Prado


The Dog (Goya)

Prompt: Explain the Background of this artwork, The Dog (Goya).

In 1819, Goya purchased a house named Quinta del Sordo (Villa of the Deaf Man) on the banks of the Manzanares near Madrid. It was a small two-story house which was named after a previous occupant who had been deaf, though Goya also happened to be functionally deaf, as a result of an illness he had contracted (probably lead poisoning) in 1792. Between 1819 and 1823, when he moved to Bordeaux, Goya produced a series of 14 works, which he painted with oils directly onto the walls of the house.At the age of 73, and having survived two life-threatening illnesses, Goya was likely to have been concerned with his own mortality, and was increasingly embittered by the conflicts that had engulfed Spain in the decade preceding his move to the Quinta del Sordo, and the developing civil strife—indeed, Goya was completing the plates that formed his series The Disasters of War during this period. Although he initially decorated the rooms of the house with more inspiring images, in time he overpainted all of them with the intense, haunting pictures known today as the Black Paintings. Uncommissioned and never meant for public display, these pictures reflect his darkening mood with their depictions of intense scenes of malevolence, conflict, and despair.If Goya gave titles to the works he produced at the Quinta del Sordo he never revealed what they were; the names by which they are now known were assigned by others after his death, and this painting is often identified by variations on the common title: A Dog, Head of a Dog, The Buried Dog, The Half-Drowned Dog, The Half-Submerged Dog; more colloquially as "Goya's Dog"; or by the Spanish names El Perro or Perro Semihundido.

Category:Paintings by Francisco Goya in the Museo del Prado