The Colossus of Rhodes (Dalí)

Prompt: Focus on The Colossus of Rhodes (Dalí) and explain the Versions.

Dalí created at least one preparatory study, First Version of The Colossus of Rhodes, a 1954 ink-on-cardboard work measuring 25 by 35.3 cm (9.8 by 13.9 in) that includes three sketches of the Colossus. It was displayed at the Time Warner Center in New York from 3 November 2010 to 30 April 2011 as part of the exhibition Dalí at Time Warner Center: The Vision of a Genius, where it was also for sale.Lithographs replicating the statue are frequently offered for sale. Owing to what Shanes calls Dalí's "exploitative and/or lackadaisical attitude", the trade in Dalí's lithographs is "in chaos". Dalí, eschewing the custom of limited printings with plates that were then destroyed, signed some 40,000 to 350,000 blank sheets of paper, which were then printed with his works. Coupled with rampant forgeries of an easily faked signature, this—termed by Shanes "one of the largest and most prolonged acts of financial fraud ever perpetrated in the history of art"—caused the lithographs to become virtually worthless.

alt=Engraving showing an imagined Colossus of Rhodes, standing astride the harbour with a [[galleon

File:First Version of The Colossus of Rhodes.jpg

File:Colosse de Rhodes - Thevet André - 1556.jpg

alt=Black and white ink sketch showing three versions of the Colossus

''First Version of The Colossus of Rhodes'' (1954)

newspaper articles about Maryon's 1953 presentation


The Colossus of Rhodes (Dalí)

Prompt: Explain the Versions of this artwork, The Colossus of Rhodes (Dalí).

Dalí created at least one preparatory study, First Version of The Colossus of Rhodes, a 1954 ink-on-cardboard work measuring 25 by 35.3 cm (9.8 by 13.9 in) that includes three sketches of the Colossus. It was displayed at the Time Warner Center in New York from 3 November 2010 to 30 April 2011 as part of the exhibition Dalí at Time Warner Center: The Vision of a Genius, where it was also for sale.Lithographs replicating the statue are frequently offered for sale. Owing to what Shanes calls Dalí's "exploitative and/or lackadaisical attitude", the trade in Dalí's lithographs is "in chaos". Dalí, eschewing the custom of limited printings with plates that were then destroyed, signed some 40,000 to 350,000 blank sheets of paper, which were then printed with his works. Coupled with rampant forgeries of an easily faked signature, this—termed by Shanes "one of the largest and most prolonged acts of financial fraud ever perpetrated in the history of art"—caused the lithographs to become virtually worthless.

alt=Engraving showing an imagined Colossus of Rhodes, standing astride the harbour with a [[galleon

File:First Version of The Colossus of Rhodes.jpg

File:Colosse de Rhodes - Thevet André - 1556.jpg

alt=Black and white ink sketch showing three versions of the Colossus

''First Version of The Colossus of Rhodes'' (1954)

newspaper articles about Maryon's 1953 presentation


The Colossus of Rhodes (Dalí)

Prompt: How does The Colossus of Rhodes (Dalí) explain its Versions?

Dalí created at least one preparatory study, First Version of The Colossus of Rhodes, a 1954 ink-on-cardboard work measuring 25 by 35.3 cm (9.8 by 13.9 in) that includes three sketches of the Colossus. It was displayed at the Time Warner Center in New York from 3 November 2010 to 30 April 2011 as part of the exhibition Dalí at Time Warner Center: The Vision of a Genius, where it was also for sale.Lithographs replicating the statue are frequently offered for sale. Owing to what Shanes calls Dalí's "exploitative and/or lackadaisical attitude", the trade in Dalí's lithographs is "in chaos". Dalí, eschewing the custom of limited printings with plates that were then destroyed, signed some 40,000 to 350,000 blank sheets of paper, which were then printed with his works. Coupled with rampant forgeries of an easily faked signature, this—termed by Shanes "one of the largest and most prolonged acts of financial fraud ever perpetrated in the history of art"—caused the lithographs to become virtually worthless.

alt=Engraving showing an imagined Colossus of Rhodes, standing astride the harbour with a [[galleon

File:First Version of The Colossus of Rhodes.jpg

File:Colosse de Rhodes - Thevet André - 1556.jpg

alt=Black and white ink sketch showing three versions of the Colossus

''First Version of The Colossus of Rhodes'' (1954)

newspaper articles about Maryon's 1953 presentation


The Colossus of Rhodes (Dalí)

Prompt: In The Colossus of Rhodes (Dalí), how is the Versions discussed?

Dalí created at least one preparatory study, First Version of The Colossus of Rhodes, a 1954 ink-on-cardboard work measuring 25 by 35.3 cm (9.8 by 13.9 in) that includes three sketches of the Colossus. It was displayed at the Time Warner Center in New York from 3 November 2010 to 30 April 2011 as part of the exhibition Dalí at Time Warner Center: The Vision of a Genius, where it was also for sale.Lithographs replicating the statue are frequently offered for sale. Owing to what Shanes calls Dalí's "exploitative and/or lackadaisical attitude", the trade in Dalí's lithographs is "in chaos". Dalí, eschewing the custom of limited printings with plates that were then destroyed, signed some 40,000 to 350,000 blank sheets of paper, which were then printed with his works. Coupled with rampant forgeries of an easily faked signature, this—termed by Shanes "one of the largest and most prolonged acts of financial fraud ever perpetrated in the history of art"—caused the lithographs to become virtually worthless.

alt=Engraving showing an imagined Colossus of Rhodes, standing astride the harbour with a [[galleon

File:First Version of The Colossus of Rhodes.jpg

File:Colosse de Rhodes - Thevet André - 1556.jpg

alt=Black and white ink sketch showing three versions of the Colossus

''First Version of The Colossus of Rhodes'' (1954)

newspaper articles about Maryon's 1953 presentation


The Death of Sardanapalus

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

The Death of Sardanapalus (La Mort de Sardanapale) is an oil painting on canvas by the French artist Eugène Delacroix, dated 1827. It is now in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.The Death of Sardanapalus is based on the tale of Sardanapalus, a king of Assyria, from the historical library of Diodorus Siculus, the ancient Greek historian, and is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus (1821), and in turn inspired a cantata by Hector Berlioz, Sardanapale (1830), and also Franz Liszt's opera, Sardanapalo (1845–1852, unfinished).

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

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

The Death of Sardanapalus (La Mort de Sardanapale) is an oil painting on canvas by the French artist Eugène Delacroix, dated 1827. It is now in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.The Death of Sardanapalus is based on the tale of Sardanapalus, a king of Assyria, from the historical library of Diodorus Siculus, the ancient Greek historian, and is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus (1821), and in turn inspired a cantata by Hector Berlioz, Sardanapale (1830), and also Franz Liszt's opera, Sardanapalo (1845–1852, unfinished).

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

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

The Death of Sardanapalus (La Mort de Sardanapale) is an oil painting on canvas by the French artist Eugène Delacroix, dated 1827. It is now in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.The Death of Sardanapalus is based on the tale of Sardanapalus, a king of Assyria, from the historical library of Diodorus Siculus, the ancient Greek historian, and is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus (1821), and in turn inspired a cantata by Hector Berlioz, Sardanapale (1830), and also Franz Liszt's opera, Sardanapalo (1845–1852, unfinished).

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

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

The Death of Sardanapalus (La Mort de Sardanapale) is an oil painting on canvas by the French artist Eugène Delacroix, dated 1827. It is now in the Musée du Louvre, Paris. A smaller replica, painted by Delacroix in 1844, is now in the Philadelphia Museum of Art.The Death of Sardanapalus is based on the tale of Sardanapalus, a king of Assyria, from the historical library of Diodorus Siculus, the ancient Greek historian, and is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus (1821), and in turn inspired a cantata by Hector Berlioz, Sardanapale (1830), and also Franz Liszt's opera, Sardanapalo (1845–1852, unfinished).

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

Prompt: Focus on The Death of Sardanapalus and explain the Visual analysis.

The main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man with a disinterested eye overseeing a scene of chaos. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. There are several people being stabbed with knives and one man is dying from a self-inflicted wound from a sword, and a man in the left foreground is attempting to kill an intricately adorned horse. A young man by the king's right elbow is standing behind a side table which has an elaborate golden decanter and a cup. There are golden elephant heads at the base of the bed, as well as various valuable trinkets scattered amongst the carnage. In the background, several architectural elements are visible but difficult to discern.Delacroix used a painterly brushstroke in this painting, which allows for a strong sense of movement in the work. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. The redness of the bed stands out against the somewhat obscured, dark background. The whiteness of Sardanapalus's robe, the creamy lines of the dying women's limbs, and the shimmers of gold objects throughout the scene pull the viewer's eye quickly around the painting.There is asymmetry in the work, but the composition remains balanced. One woman reclined by an elephant head on the end of the bed is the only figure to engage with the viewer. Everyone else in the painting is focused on the task at hand: death.

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

Prompt: Explain the Visual analysis of this artwork, The Death of Sardanapalus.

The main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man with a disinterested eye overseeing a scene of chaos. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. There are several people being stabbed with knives and one man is dying from a self-inflicted wound from a sword, and a man in the left foreground is attempting to kill an intricately adorned horse. A young man by the king's right elbow is standing behind a side table which has an elaborate golden decanter and a cup. There are golden elephant heads at the base of the bed, as well as various valuable trinkets scattered amongst the carnage. In the background, several architectural elements are visible but difficult to discern.Delacroix used a painterly brushstroke in this painting, which allows for a strong sense of movement in the work. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. The redness of the bed stands out against the somewhat obscured, dark background. The whiteness of Sardanapalus's robe, the creamy lines of the dying women's limbs, and the shimmers of gold objects throughout the scene pull the viewer's eye quickly around the painting.There is asymmetry in the work, but the composition remains balanced. One woman reclined by an elephant head on the end of the bed is the only figure to engage with the viewer. Everyone else in the painting is focused on the task at hand: death.

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

Prompt: How does The Death of Sardanapalus explain its Visual analysis?

The main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man with a disinterested eye overseeing a scene of chaos. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. There are several people being stabbed with knives and one man is dying from a self-inflicted wound from a sword, and a man in the left foreground is attempting to kill an intricately adorned horse. A young man by the king's right elbow is standing behind a side table which has an elaborate golden decanter and a cup. There are golden elephant heads at the base of the bed, as well as various valuable trinkets scattered amongst the carnage. In the background, several architectural elements are visible but difficult to discern.Delacroix used a painterly brushstroke in this painting, which allows for a strong sense of movement in the work. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. The redness of the bed stands out against the somewhat obscured, dark background. The whiteness of Sardanapalus's robe, the creamy lines of the dying women's limbs, and the shimmers of gold objects throughout the scene pull the viewer's eye quickly around the painting.There is asymmetry in the work, but the composition remains balanced. One woman reclined by an elephant head on the end of the bed is the only figure to engage with the viewer. Everyone else in the painting is focused on the task at hand: death.

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

Prompt: In The Death of Sardanapalus, how is the Visual analysis discussed?

The main focus of Death of Sardanapalus is a large bed draped in rich red fabric. On it lies a man with a disinterested eye overseeing a scene of chaos. He is dressed in flowing white fabrics and sumptuous gold around his neck and head. A woman lies dead at his feet, prone across the lower half of the large bed. She is one of six in the scene, all in various shades of undress, and all in assorted throes of death by the hands of the half dozen men in the scene. There are several people being stabbed with knives and one man is dying from a self-inflicted wound from a sword, and a man in the left foreground is attempting to kill an intricately adorned horse. A young man by the king's right elbow is standing behind a side table which has an elaborate golden decanter and a cup. There are golden elephant heads at the base of the bed, as well as various valuable trinkets scattered amongst the carnage. In the background, several architectural elements are visible but difficult to discern.Delacroix used a painterly brushstroke in this painting, which allows for a strong sense of movement in the work. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. The redness of the bed stands out against the somewhat obscured, dark background. The whiteness of Sardanapalus's robe, the creamy lines of the dying women's limbs, and the shimmers of gold objects throughout the scene pull the viewer's eye quickly around the painting.There is asymmetry in the work, but the composition remains balanced. One woman reclined by an elephant head on the end of the bed is the only figure to engage with the viewer. Everyone else in the painting is focused on the task at hand: death.

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

Prompt: Focus on The Death of Sardanapalus and explain the Reception.

Delacroix's Death of Sardanapalus was controversial and polarizing at its exhibition at the Paris Salon of 1828. Delacroix's main figural subject was Sardanapalus, a king willing to destroy all of his possessions, including people and luxurious goods, in a funerary pyre of gore and excess. Sardanapalus was not a classical hero, like the Horatii in Jacques-Louis David’s eponymous painting. Delacroix's Sardanapalus was the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter. He also used foreshortening to tilt the death scene directly into the space of the audience, a far cry from the subdued order of traditional academic paintings. Dorothy Bussy quotes one critic of the work as calling the painting "the fanaticism of ugliness" when it appeared in the Salon in 1828.Art historian Linda Nochlin has argued that this painting scandalized the Salon because it was understood by contemporaries as a destructive sexual fantasy of Delacroix's own—a collapse of the distinction between the "Other" of Orientalism (i.e., Sardanapalus) and western man.The composer Franz Liszt was inspired by Delacroix's painting (and Byron's play) to compose an Italian opera—Sardanapalo—on the topic, telling Princess Cristina Belgiojoso that, in view of the king's self-immolation, his finale will aim to 'set the entire audience alight'. He completed Act 1 only in 1852 and abandoned the project thereafter. The completed first act received its premiere in 2018.

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

Prompt: Explain the Reception of this artwork, The Death of Sardanapalus.

Delacroix's Death of Sardanapalus was controversial and polarizing at its exhibition at the Paris Salon of 1828. Delacroix's main figural subject was Sardanapalus, a king willing to destroy all of his possessions, including people and luxurious goods, in a funerary pyre of gore and excess. Sardanapalus was not a classical hero, like the Horatii in Jacques-Louis David’s eponymous painting. Delacroix's Sardanapalus was the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter. He also used foreshortening to tilt the death scene directly into the space of the audience, a far cry from the subdued order of traditional academic paintings. Dorothy Bussy quotes one critic of the work as calling the painting "the fanaticism of ugliness" when it appeared in the Salon in 1828.Art historian Linda Nochlin has argued that this painting scandalized the Salon because it was understood by contemporaries as a destructive sexual fantasy of Delacroix's own—a collapse of the distinction between the "Other" of Orientalism (i.e., Sardanapalus) and western man.The composer Franz Liszt was inspired by Delacroix's painting (and Byron's play) to compose an Italian opera—Sardanapalo—on the topic, telling Princess Cristina Belgiojoso that, in view of the king's self-immolation, his finale will aim to 'set the entire audience alight'. He completed Act 1 only in 1852 and abandoned the project thereafter. The completed first act received its premiere in 2018.

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

Prompt: How does The Death of Sardanapalus explain its Reception?

Delacroix's Death of Sardanapalus was controversial and polarizing at its exhibition at the Paris Salon of 1828. Delacroix's main figural subject was Sardanapalus, a king willing to destroy all of his possessions, including people and luxurious goods, in a funerary pyre of gore and excess. Sardanapalus was not a classical hero, like the Horatii in Jacques-Louis David’s eponymous painting. Delacroix's Sardanapalus was the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter. He also used foreshortening to tilt the death scene directly into the space of the audience, a far cry from the subdued order of traditional academic paintings. Dorothy Bussy quotes one critic of the work as calling the painting "the fanaticism of ugliness" when it appeared in the Salon in 1828.Art historian Linda Nochlin has argued that this painting scandalized the Salon because it was understood by contemporaries as a destructive sexual fantasy of Delacroix's own—a collapse of the distinction between the "Other" of Orientalism (i.e., Sardanapalus) and western man.The composer Franz Liszt was inspired by Delacroix's painting (and Byron's play) to compose an Italian opera—Sardanapalo—on the topic, telling Princess Cristina Belgiojoso that, in view of the king's self-immolation, his finale will aim to 'set the entire audience alight'. He completed Act 1 only in 1852 and abandoned the project thereafter. The completed first act received its premiere in 2018.

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Death of Sardanapalus

Prompt: In The Death of Sardanapalus, how is the Reception discussed?

Delacroix's Death of Sardanapalus was controversial and polarizing at its exhibition at the Paris Salon of 1828. Delacroix's main figural subject was Sardanapalus, a king willing to destroy all of his possessions, including people and luxurious goods, in a funerary pyre of gore and excess. Sardanapalus was not a classical hero, like the Horatii in Jacques-Louis David’s eponymous painting. Delacroix's Sardanapalus was the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter. He also used foreshortening to tilt the death scene directly into the space of the audience, a far cry from the subdued order of traditional academic paintings. Dorothy Bussy quotes one critic of the work as calling the painting "the fanaticism of ugliness" when it appeared in the Salon in 1828.Art historian Linda Nochlin has argued that this painting scandalized the Salon because it was understood by contemporaries as a destructive sexual fantasy of Delacroix's own—a collapse of the distinction between the "Other" of Orientalism (i.e., Sardanapalus) and western man.The composer Franz Liszt was inspired by Delacroix's painting (and Byron's play) to compose an Italian opera—Sardanapalo—on the topic, telling Princess Cristina Belgiojoso that, in view of the king's self-immolation, his finale will aim to 'set the entire audience alight'. He completed Act 1 only in 1852 and abandoned the project thereafter. The completed first act received its premiere in 2018.

abbr=on}}, from [[Philadelphia Museum of Art

Eugène Delacroix  ''La Mort de Sardanapale'', {{convert

Category:Adaptations of works by Lord Byron

Category:Ancient Mesopotamia in popular culture

File:Eugène Delacroix - La Mort de Sardanapale.jpg

Category:Paintings in the Louvre by French artists

File:Ferdinand-Victor-Eugène Delacroix, French - The Death of Sardanapalus - Google Art Project.jpg


The Hay Wain

Prompt: Focus on The Hay Wain and explain the abstract.

The Hay Wain – originally titled Landscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings.Painted in oils on canvas, the work depicts as its central feature three horses pulling what appears to be a wood wain or large farm waggon across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far-left. The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex.The Hay Wain is one of a series of paintings by Constable called the "six-footers", large-scale canvasses which he painted for the annual summer exhibitions at the Royal Academy. As with all of the paintings in this series, Constable produced a full-scale oil sketch for the work; this is now in the Victoria and Albert Museum in London. Another small oil-sketch, the first in his experimentation with extending of the composition of the painting to the right, is now in the collection of the Yale Center for British Art. Constable originally exhibited the finished work with the title Landscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.The painting measures 130.2 cm × 185.4 cm (51+1⁄4 in × 73 in).

Category:Paintings in the National Gallery, London

File:Flatford Mill, site of the HayWain.JPG

Category:Vandalized works of art in the United Kingdom


The Hay Wain

Prompt: Explain the abstract of this artwork, The Hay Wain.

The Hay Wain – originally titled Landscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings.Painted in oils on canvas, the work depicts as its central feature three horses pulling what appears to be a wood wain or large farm waggon across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far-left. The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex.The Hay Wain is one of a series of paintings by Constable called the "six-footers", large-scale canvasses which he painted for the annual summer exhibitions at the Royal Academy. As with all of the paintings in this series, Constable produced a full-scale oil sketch for the work; this is now in the Victoria and Albert Museum in London. Another small oil-sketch, the first in his experimentation with extending of the composition of the painting to the right, is now in the collection of the Yale Center for British Art. Constable originally exhibited the finished work with the title Landscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.The painting measures 130.2 cm × 185.4 cm (51+1⁄4 in × 73 in).

Category:Paintings in the National Gallery, London

File:Flatford Mill, site of the HayWain.JPG

Category:Vandalized works of art in the United Kingdom


The Hay Wain

Prompt: How does The Hay Wain explain its abstract?

The Hay Wain – originally titled Landscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings.Painted in oils on canvas, the work depicts as its central feature three horses pulling what appears to be a wood wain or large farm waggon across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far-left. The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex.The Hay Wain is one of a series of paintings by Constable called the "six-footers", large-scale canvasses which he painted for the annual summer exhibitions at the Royal Academy. As with all of the paintings in this series, Constable produced a full-scale oil sketch for the work; this is now in the Victoria and Albert Museum in London. Another small oil-sketch, the first in his experimentation with extending of the composition of the painting to the right, is now in the collection of the Yale Center for British Art. Constable originally exhibited the finished work with the title Landscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.The painting measures 130.2 cm × 185.4 cm (51+1⁄4 in × 73 in).

Category:Paintings in the National Gallery, London

File:Flatford Mill, site of the HayWain.JPG

Category:Vandalized works of art in the United Kingdom


The Hay Wain

Prompt: In The Hay Wain, how is the abstract discussed?

The Hay Wain – originally titled Landscape: Noon – is a painting by John Constable, completed in 1821, which depicts a rural scene on the River Stour between the English counties of Suffolk and Essex. It hangs in the National Gallery in London and is regarded as "Constable's most famous image" and one of the greatest and most popular English paintings.Painted in oils on canvas, the work depicts as its central feature three horses pulling what appears to be a wood wain or large farm waggon across the river. Willy Lott's Cottage, also the subject of an eponymous painting by Constable, is visible on the far-left. The scene takes place near Flatford Mill in Suffolk, though since the Stour forms the border of two counties, the left bank is in Suffolk and the landscape on the right bank is in Essex.The Hay Wain is one of a series of paintings by Constable called the "six-footers", large-scale canvasses which he painted for the annual summer exhibitions at the Royal Academy. As with all of the paintings in this series, Constable produced a full-scale oil sketch for the work; this is now in the Victoria and Albert Museum in London. Another small oil-sketch, the first in his experimentation with extending of the composition of the painting to the right, is now in the collection of the Yale Center for British Art. Constable originally exhibited the finished work with the title Landscape: Noon, suggesting that he envisaged it as belonging to the classical landscape tradition of representing the cycles of nature.The painting measures 130.2 cm × 185.4 cm (51+1⁄4 in × 73 in).

Category:Paintings in the National Gallery, London

File:Flatford Mill, site of the HayWain.JPG

Category:Vandalized works of art in the United Kingdom


The Hay Wain

Prompt: Focus on The Hay Wain and explain the History.

Flatford Mill was owned by Constable's father. The house on the left side of the painting belonged to a neighbour, Willy Lott, a tenant farmer, who was said to have been born in the house and never to have left it for more than four days in his lifetime. Willy Lott's Cottage still survives practically unaltered, but none of the trees in the painting exist today.Although The Hay Wain is revered today as one of the greatest British paintings, when it was originally exhibited at the Royal Academy in 1821 (under the title Landscape: Noon), it failed to find a buyer.It was considerably better received in France where it was praised by Théodore Géricault. The painting caused a sensation when it was exhibited, along with View on the Stour near Dedham and Yarmouth Jetty, at the 1824 Paris Salon (it has been suggested that the inclusion of Constable's paintings in the exhibition was a tribute to Géricault, who died early that year). In that exhibition, The Hay Wain was singled out for a gold medal awarded by Charles X of France, a cast of which is incorporated into the picture's frame. The works by Constable in the exhibition inspired a new generation of French painters, including Eugène Delacroix. The French writer Stendhal, who visited the exhibition, wrote: "We have never seen anything like these pictures before. It is their truthfulness that is so striking." According to Christine Riding, Director of Collections and Research at the National Gallery, though, "In some ways, he's offering up a fiction: a highly curated landscape containing elements that have been added later to improve the composition and broaden its appeal (…) There's nothing natural about that landscape (…) It's all man-made (…) The fields are agriculture, a managed landscape".Sold at the exhibition with three other Constables to the dealer John Arrowsmith, The Hay Wain was brought back to England by another dealer, D. T. White; he sold it to a Mr. Young who resided in Ryde on the Isle of Wight. It was there that the painting came to the attention of the collector Henry Vaughan and the painter Charles Robert Leslie. On the death of his friend Mr. Young, Vaughan bought the painting from the former's estate; in 1886, he presented it to the National Gallery in London, where it still hangs today. In his will, Vaughan bequeathed the full-scale oil sketch for The Hay Wain, made with a palette knife, to the South Kensington Museum (now the Victoria and Albert Museum).The Hay Wain was voted the second most popular painting in any British gallery, second only to Turner's Fighting Temeraire, in a 2005 poll organised by BBC Radio 4's Today programme.A study produced by the charity Art History in Schools suggests that the waggon has stopped in the river to allow the horses to drink and to cool down, but also to cool the waggon's wheels. The hot weather prevailing at the time of the harvest would cause the wooden wheels to shrink while the iron rims around them would expand, leading the wheels to wobble. Cooling the rims in the river addressed the problem. It notes that such details of agricultural life would have been well known to Constable.On 28 June 2013, a protester, reported to be connected with Fathers 4 Justice, glued a photograph of a young boy to the painting while it was on display at the National Gallery. The work was not permanently damaged. On 4 July 2022, two Just Stop Oil protestors attached their own modified "apocalyptic vision of the future" version of the painting to the original and glued themselves to the frame. The National Gallery said the surface varnish of the painting and its frame suffered minor damage.

Category:Paintings in the National Gallery, London

File:Flatford Mill, site of the HayWain.JPG

Category:Vandalized works of art in the United Kingdom


The Hay Wain

Prompt: Explain the History of this artwork, The Hay Wain.

Flatford Mill was owned by Constable's father. The house on the left side of the painting belonged to a neighbour, Willy Lott, a tenant farmer, who was said to have been born in the house and never to have left it for more than four days in his lifetime. Willy Lott's Cottage still survives practically unaltered, but none of the trees in the painting exist today.Although The Hay Wain is revered today as one of the greatest British paintings, when it was originally exhibited at the Royal Academy in 1821 (under the title Landscape: Noon), it failed to find a buyer.It was considerably better received in France where it was praised by Théodore Géricault. The painting caused a sensation when it was exhibited, along with View on the Stour near Dedham and Yarmouth Jetty, at the 1824 Paris Salon (it has been suggested that the inclusion of Constable's paintings in the exhibition was a tribute to Géricault, who died early that year). In that exhibition, The Hay Wain was singled out for a gold medal awarded by Charles X of France, a cast of which is incorporated into the picture's frame. The works by Constable in the exhibition inspired a new generation of French painters, including Eugène Delacroix. The French writer Stendhal, who visited the exhibition, wrote: "We have never seen anything like these pictures before. It is their truthfulness that is so striking." According to Christine Riding, Director of Collections and Research at the National Gallery, though, "In some ways, he's offering up a fiction: a highly curated landscape containing elements that have been added later to improve the composition and broaden its appeal (…) There's nothing natural about that landscape (…) It's all man-made (…) The fields are agriculture, a managed landscape".Sold at the exhibition with three other Constables to the dealer John Arrowsmith, The Hay Wain was brought back to England by another dealer, D. T. White; he sold it to a Mr. Young who resided in Ryde on the Isle of Wight. It was there that the painting came to the attention of the collector Henry Vaughan and the painter Charles Robert Leslie. On the death of his friend Mr. Young, Vaughan bought the painting from the former's estate; in 1886, he presented it to the National Gallery in London, where it still hangs today. In his will, Vaughan bequeathed the full-scale oil sketch for The Hay Wain, made with a palette knife, to the South Kensington Museum (now the Victoria and Albert Museum).The Hay Wain was voted the second most popular painting in any British gallery, second only to Turner's Fighting Temeraire, in a 2005 poll organised by BBC Radio 4's Today programme.A study produced by the charity Art History in Schools suggests that the waggon has stopped in the river to allow the horses to drink and to cool down, but also to cool the waggon's wheels. The hot weather prevailing at the time of the harvest would cause the wooden wheels to shrink while the iron rims around them would expand, leading the wheels to wobble. Cooling the rims in the river addressed the problem. It notes that such details of agricultural life would have been well known to Constable.On 28 June 2013, a protester, reported to be connected with Fathers 4 Justice, glued a photograph of a young boy to the painting while it was on display at the National Gallery. The work was not permanently damaged. On 4 July 2022, two Just Stop Oil protestors attached their own modified "apocalyptic vision of the future" version of the painting to the original and glued themselves to the frame. The National Gallery said the surface varnish of the painting and its frame suffered minor damage.

Category:Paintings in the National Gallery, London

File:Flatford Mill, site of the HayWain.JPG

Category:Vandalized works of art in the United Kingdom


The Hay Wain

Prompt: How does The Hay Wain explain its History?

Flatford Mill was owned by Constable's father. The house on the left side of the painting belonged to a neighbour, Willy Lott, a tenant farmer, who was said to have been born in the house and never to have left it for more than four days in his lifetime. Willy Lott's Cottage still survives practically unaltered, but none of the trees in the painting exist today.Although The Hay Wain is revered today as one of the greatest British paintings, when it was originally exhibited at the Royal Academy in 1821 (under the title Landscape: Noon), it failed to find a buyer.It was considerably better received in France where it was praised by Théodore Géricault. The painting caused a sensation when it was exhibited, along with View on the Stour near Dedham and Yarmouth Jetty, at the 1824 Paris Salon (it has been suggested that the inclusion of Constable's paintings in the exhibition was a tribute to Géricault, who died early that year). In that exhibition, The Hay Wain was singled out for a gold medal awarded by Charles X of France, a cast of which is incorporated into the picture's frame. The works by Constable in the exhibition inspired a new generation of French painters, including Eugène Delacroix. The French writer Stendhal, who visited the exhibition, wrote: "We have never seen anything like these pictures before. It is their truthfulness that is so striking." According to Christine Riding, Director of Collections and Research at the National Gallery, though, "In some ways, he's offering up a fiction: a highly curated landscape containing elements that have been added later to improve the composition and broaden its appeal (…) There's nothing natural about that landscape (…) It's all man-made (…) The fields are agriculture, a managed landscape".Sold at the exhibition with three other Constables to the dealer John Arrowsmith, The Hay Wain was brought back to England by another dealer, D. T. White; he sold it to a Mr. Young who resided in Ryde on the Isle of Wight. It was there that the painting came to the attention of the collector Henry Vaughan and the painter Charles Robert Leslie. On the death of his friend Mr. Young, Vaughan bought the painting from the former's estate; in 1886, he presented it to the National Gallery in London, where it still hangs today. In his will, Vaughan bequeathed the full-scale oil sketch for The Hay Wain, made with a palette knife, to the South Kensington Museum (now the Victoria and Albert Museum).The Hay Wain was voted the second most popular painting in any British gallery, second only to Turner's Fighting Temeraire, in a 2005 poll organised by BBC Radio 4's Today programme.A study produced by the charity Art History in Schools suggests that the waggon has stopped in the river to allow the horses to drink and to cool down, but also to cool the waggon's wheels. The hot weather prevailing at the time of the harvest would cause the wooden wheels to shrink while the iron rims around them would expand, leading the wheels to wobble. Cooling the rims in the river addressed the problem. It notes that such details of agricultural life would have been well known to Constable.On 28 June 2013, a protester, reported to be connected with Fathers 4 Justice, glued a photograph of a young boy to the painting while it was on display at the National Gallery. The work was not permanently damaged. On 4 July 2022, two Just Stop Oil protestors attached their own modified "apocalyptic vision of the future" version of the painting to the original and glued themselves to the frame. The National Gallery said the surface varnish of the painting and its frame suffered minor damage.

Category:Paintings in the National Gallery, London

File:Flatford Mill, site of the HayWain.JPG

Category:Vandalized works of art in the United Kingdom


The Hay Wain

Prompt: In The Hay Wain, how is the History discussed?

Flatford Mill was owned by Constable's father. The house on the left side of the painting belonged to a neighbour, Willy Lott, a tenant farmer, who was said to have been born in the house and never to have left it for more than four days in his lifetime. Willy Lott's Cottage still survives practically unaltered, but none of the trees in the painting exist today.Although The Hay Wain is revered today as one of the greatest British paintings, when it was originally exhibited at the Royal Academy in 1821 (under the title Landscape: Noon), it failed to find a buyer.It was considerably better received in France where it was praised by Théodore Géricault. The painting caused a sensation when it was exhibited, along with View on the Stour near Dedham and Yarmouth Jetty, at the 1824 Paris Salon (it has been suggested that the inclusion of Constable's paintings in the exhibition was a tribute to Géricault, who died early that year). In that exhibition, The Hay Wain was singled out for a gold medal awarded by Charles X of France, a cast of which is incorporated into the picture's frame. The works by Constable in the exhibition inspired a new generation of French painters, including Eugène Delacroix. The French writer Stendhal, who visited the exhibition, wrote: "We have never seen anything like these pictures before. It is their truthfulness that is so striking." According to Christine Riding, Director of Collections and Research at the National Gallery, though, "In some ways, he's offering up a fiction: a highly curated landscape containing elements that have been added later to improve the composition and broaden its appeal (…) There's nothing natural about that landscape (…) It's all man-made (…) The fields are agriculture, a managed landscape".Sold at the exhibition with three other Constables to the dealer John Arrowsmith, The Hay Wain was brought back to England by another dealer, D. T. White; he sold it to a Mr. Young who resided in Ryde on the Isle of Wight. It was there that the painting came to the attention of the collector Henry Vaughan and the painter Charles Robert Leslie. On the death of his friend Mr. Young, Vaughan bought the painting from the former's estate; in 1886, he presented it to the National Gallery in London, where it still hangs today. In his will, Vaughan bequeathed the full-scale oil sketch for The Hay Wain, made with a palette knife, to the South Kensington Museum (now the Victoria and Albert Museum).The Hay Wain was voted the second most popular painting in any British gallery, second only to Turner's Fighting Temeraire, in a 2005 poll organised by BBC Radio 4's Today programme.A study produced by the charity Art History in Schools suggests that the waggon has stopped in the river to allow the horses to drink and to cool down, but also to cool the waggon's wheels. The hot weather prevailing at the time of the harvest would cause the wooden wheels to shrink while the iron rims around them would expand, leading the wheels to wobble. Cooling the rims in the river addressed the problem. It notes that such details of agricultural life would have been well known to Constable.On 28 June 2013, a protester, reported to be connected with Fathers 4 Justice, glued a photograph of a young boy to the painting while it was on display at the National Gallery. The work was not permanently damaged. On 4 July 2022, two Just Stop Oil protestors attached their own modified "apocalyptic vision of the future" version of the painting to the original and glued themselves to the frame. The National Gallery said the surface varnish of the painting and its frame suffered minor damage.

Category:Paintings in the National Gallery, London

File:Flatford Mill, site of the HayWain.JPG

Category:Vandalized works of art in the United Kingdom


Atlas (statue)

Prompt: Focus on Atlas (statue) and explain the abstract.

Atlas is a bronze statue in Rockefeller Center, within the International Building's courtyard, in Midtown Manhattan in New York City. It is across Fifth Avenue from St. Patrick's Cathedral. The sculpture depicts the ancient Greek Titan Atlas holding the heavens on his shoulders.Atlas was created by the sculptor Lee Lawrie with the help of Rene Paul Chambellan and was installed in 1937. Atlas was cast at the Roman Bronze Works, a subsidiary of the General Bronze Corporation in Corona, Queens. The Roman Bronze Works had long been a sub-contractor to Louis C. Tiffany's Tiffany Studios which was then bought out by the General Bronze Corporation in 1928. Under the ownership of General Bronze, the Roman Bronze Works produced some of its finest bronze artwork from sculptors like Paul Manship, Rene Chambellan, and Lee Lawrie. The sculpture is in the Art Deco style of Rockefeller Center. The figure of Atlas in the sculpture is 15 feet (4.6 m) tall, while the entire statue is 45 feet (14 m) tall. It weighs 14,000 pounds (6,400 kg), and is the largest sculpture at Rockefeller Center.Atlas is depicted carrying the celestial vault on his shoulders. The north–south axis of the armillary sphere on his shoulders points towards the North Star's position relative to New York City. The statue stands on one muscular leg atop a small stone pedestal, whose corner faces Fifth Avenue.

Category:Art Deco sculptures and memorials

''Atlas'' statue located at Rockefeller Center

Category:Outdoor sculptures in Manhattan

Category:Nude sculptures in New York (state)

New York City Landmarks Preservation Commission

alt=Bronze Atlas statue, depicting Atlas the titan in Ancient Greek mythology, bent over holding up a wire sphere representing Earth. Located at Rockefeller Center, seen from below.

Category:1937 establishments in New York City

Category:Buildings and structures completed in 1937


Atlas (statue)

Prompt: Explain the abstract of this artwork, Atlas (statue).

Atlas is a bronze statue in Rockefeller Center, within the International Building's courtyard, in Midtown Manhattan in New York City. It is across Fifth Avenue from St. Patrick's Cathedral. The sculpture depicts the ancient Greek Titan Atlas holding the heavens on his shoulders.Atlas was created by the sculptor Lee Lawrie with the help of Rene Paul Chambellan and was installed in 1937. Atlas was cast at the Roman Bronze Works, a subsidiary of the General Bronze Corporation in Corona, Queens. The Roman Bronze Works had long been a sub-contractor to Louis C. Tiffany's Tiffany Studios which was then bought out by the General Bronze Corporation in 1928. Under the ownership of General Bronze, the Roman Bronze Works produced some of its finest bronze artwork from sculptors like Paul Manship, Rene Chambellan, and Lee Lawrie. The sculpture is in the Art Deco style of Rockefeller Center. The figure of Atlas in the sculpture is 15 feet (4.6 m) tall, while the entire statue is 45 feet (14 m) tall. It weighs 14,000 pounds (6,400 kg), and is the largest sculpture at Rockefeller Center.Atlas is depicted carrying the celestial vault on his shoulders. The north–south axis of the armillary sphere on his shoulders points towards the North Star's position relative to New York City. The statue stands on one muscular leg atop a small stone pedestal, whose corner faces Fifth Avenue.

Category:Art Deco sculptures and memorials

''Atlas'' statue located at Rockefeller Center

Category:Outdoor sculptures in Manhattan

Category:Nude sculptures in New York (state)

New York City Landmarks Preservation Commission

alt=Bronze Atlas statue, depicting Atlas the titan in Ancient Greek mythology, bent over holding up a wire sphere representing Earth. Located at Rockefeller Center, seen from below.

Category:1937 establishments in New York City

Category:Buildings and structures completed in 1937


Atlas (statue)

Prompt: How does Atlas (statue) explain its abstract?

Atlas is a bronze statue in Rockefeller Center, within the International Building's courtyard, in Midtown Manhattan in New York City. It is across Fifth Avenue from St. Patrick's Cathedral. The sculpture depicts the ancient Greek Titan Atlas holding the heavens on his shoulders.Atlas was created by the sculptor Lee Lawrie with the help of Rene Paul Chambellan and was installed in 1937. Atlas was cast at the Roman Bronze Works, a subsidiary of the General Bronze Corporation in Corona, Queens. The Roman Bronze Works had long been a sub-contractor to Louis C. Tiffany's Tiffany Studios which was then bought out by the General Bronze Corporation in 1928. Under the ownership of General Bronze, the Roman Bronze Works produced some of its finest bronze artwork from sculptors like Paul Manship, Rene Chambellan, and Lee Lawrie. The sculpture is in the Art Deco style of Rockefeller Center. The figure of Atlas in the sculpture is 15 feet (4.6 m) tall, while the entire statue is 45 feet (14 m) tall. It weighs 14,000 pounds (6,400 kg), and is the largest sculpture at Rockefeller Center.Atlas is depicted carrying the celestial vault on his shoulders. The north–south axis of the armillary sphere on his shoulders points towards the North Star's position relative to New York City. The statue stands on one muscular leg atop a small stone pedestal, whose corner faces Fifth Avenue.

Category:Art Deco sculptures and memorials

''Atlas'' statue located at Rockefeller Center

Category:Outdoor sculptures in Manhattan

Category:Nude sculptures in New York (state)

New York City Landmarks Preservation Commission

alt=Bronze Atlas statue, depicting Atlas the titan in Ancient Greek mythology, bent over holding up a wire sphere representing Earth. Located at Rockefeller Center, seen from below.

Category:1937 establishments in New York City

Category:Buildings and structures completed in 1937


Atlas (statue)

Prompt: In Atlas (statue), how is the abstract discussed?

Atlas is a bronze statue in Rockefeller Center, within the International Building's courtyard, in Midtown Manhattan in New York City. It is across Fifth Avenue from St. Patrick's Cathedral. The sculpture depicts the ancient Greek Titan Atlas holding the heavens on his shoulders.Atlas was created by the sculptor Lee Lawrie with the help of Rene Paul Chambellan and was installed in 1937. Atlas was cast at the Roman Bronze Works, a subsidiary of the General Bronze Corporation in Corona, Queens. The Roman Bronze Works had long been a sub-contractor to Louis C. Tiffany's Tiffany Studios which was then bought out by the General Bronze Corporation in 1928. Under the ownership of General Bronze, the Roman Bronze Works produced some of its finest bronze artwork from sculptors like Paul Manship, Rene Chambellan, and Lee Lawrie. The sculpture is in the Art Deco style of Rockefeller Center. The figure of Atlas in the sculpture is 15 feet (4.6 m) tall, while the entire statue is 45 feet (14 m) tall. It weighs 14,000 pounds (6,400 kg), and is the largest sculpture at Rockefeller Center.Atlas is depicted carrying the celestial vault on his shoulders. The north–south axis of the armillary sphere on his shoulders points towards the North Star's position relative to New York City. The statue stands on one muscular leg atop a small stone pedestal, whose corner faces Fifth Avenue.

Category:Art Deco sculptures and memorials

''Atlas'' statue located at Rockefeller Center

Category:Outdoor sculptures in Manhattan

Category:Nude sculptures in New York (state)

New York City Landmarks Preservation Commission

alt=Bronze Atlas statue, depicting Atlas the titan in Ancient Greek mythology, bent over holding up a wire sphere representing Earth. Located at Rockefeller Center, seen from below.

Category:1937 establishments in New York City

Category:Buildings and structures completed in 1937


Atlas (statue)

Prompt: Focus on Atlas (statue) and explain the In popular culture.

The piece has since been appropriated as a symbol of the Objectivist movement and has been associated with Ayn Rand's novel Atlas Shrugged (1957).It has been featured in almost every episode of the television series 30 Rock, appearing in numerous establishing shots depicting the 30 Rockefeller Plaza building, where the series is set. Most Rainforest Cafe locations have a statue resembling this one in a waterfall with a fountain, with the words "Rescue the Rainforest" in green neon letters across the equator of the globe.Ridley Scott has cited the sculpture as the aesthetic inspiration for the character "Mother," on HBO Max's Raised by Wolves.

Category:Art Deco sculptures and memorials

''Atlas'' statue located at Rockefeller Center

Category:Outdoor sculptures in Manhattan

Category:Nude sculptures in New York (state)

New York City Landmarks Preservation Commission

alt=Bronze Atlas statue, depicting Atlas the titan in Ancient Greek mythology, bent over holding up a wire sphere representing Earth. Located at Rockefeller Center, seen from below.

Category:1937 establishments in New York City

Category:Buildings and structures completed in 1937


Atlas (statue)

Prompt: Explain the In popular culture of this artwork, Atlas (statue).

The piece has since been appropriated as a symbol of the Objectivist movement and has been associated with Ayn Rand's novel Atlas Shrugged (1957).It has been featured in almost every episode of the television series 30 Rock, appearing in numerous establishing shots depicting the 30 Rockefeller Plaza building, where the series is set. Most Rainforest Cafe locations have a statue resembling this one in a waterfall with a fountain, with the words "Rescue the Rainforest" in green neon letters across the equator of the globe.Ridley Scott has cited the sculpture as the aesthetic inspiration for the character "Mother," on HBO Max's Raised by Wolves.

Category:Art Deco sculptures and memorials

''Atlas'' statue located at Rockefeller Center

Category:Outdoor sculptures in Manhattan

Category:Nude sculptures in New York (state)

New York City Landmarks Preservation Commission

alt=Bronze Atlas statue, depicting Atlas the titan in Ancient Greek mythology, bent over holding up a wire sphere representing Earth. Located at Rockefeller Center, seen from below.

Category:1937 establishments in New York City

Category:Buildings and structures completed in 1937


Atlas (statue)

Prompt: How does Atlas (statue) explain its In popular culture?

The piece has since been appropriated as a symbol of the Objectivist movement and has been associated with Ayn Rand's novel Atlas Shrugged (1957).It has been featured in almost every episode of the television series 30 Rock, appearing in numerous establishing shots depicting the 30 Rockefeller Plaza building, where the series is set. Most Rainforest Cafe locations have a statue resembling this one in a waterfall with a fountain, with the words "Rescue the Rainforest" in green neon letters across the equator of the globe.Ridley Scott has cited the sculpture as the aesthetic inspiration for the character "Mother," on HBO Max's Raised by Wolves.

Category:Art Deco sculptures and memorials

''Atlas'' statue located at Rockefeller Center

Category:Outdoor sculptures in Manhattan

Category:Nude sculptures in New York (state)

New York City Landmarks Preservation Commission

alt=Bronze Atlas statue, depicting Atlas the titan in Ancient Greek mythology, bent over holding up a wire sphere representing Earth. Located at Rockefeller Center, seen from below.

Category:1937 establishments in New York City

Category:Buildings and structures completed in 1937


Atlas (statue)

Prompt: In Atlas (statue), how is the In popular culture discussed?

The piece has since been appropriated as a symbol of the Objectivist movement and has been associated with Ayn Rand's novel Atlas Shrugged (1957).It has been featured in almost every episode of the television series 30 Rock, appearing in numerous establishing shots depicting the 30 Rockefeller Plaza building, where the series is set. Most Rainforest Cafe locations have a statue resembling this one in a waterfall with a fountain, with the words "Rescue the Rainforest" in green neon letters across the equator of the globe.Ridley Scott has cited the sculpture as the aesthetic inspiration for the character "Mother," on HBO Max's Raised by Wolves.

Category:Art Deco sculptures and memorials

''Atlas'' statue located at Rockefeller Center

Category:Outdoor sculptures in Manhattan

Category:Nude sculptures in New York (state)

New York City Landmarks Preservation Commission

alt=Bronze Atlas statue, depicting Atlas the titan in Ancient Greek mythology, bent over holding up a wire sphere representing Earth. Located at Rockefeller Center, seen from below.

Category:1937 establishments in New York City

Category:Buildings and structures completed in 1937


The Intervention of the Sabine Women

Prompt: Focus on The Intervention of the Sabine Women and explain the abstract.

The Intervention of the Sabine Women is a 1799 painting by the French painter Jacques-Louis David, showing a legendary episode following the abduction of the Sabine women by the founding generation of Rome.Work on the painting commenced in 1796, after his estranged wife visited him in jail. He conceived the idea of telling the story, to honour his wife, with the theme being love prevailing over conflict and the protection of children. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. Its realization took him nearly four years.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: Explain the abstract of this artwork, The Intervention of the Sabine Women.

The Intervention of the Sabine Women is a 1799 painting by the French painter Jacques-Louis David, showing a legendary episode following the abduction of the Sabine women by the founding generation of Rome.Work on the painting commenced in 1796, after his estranged wife visited him in jail. He conceived the idea of telling the story, to honour his wife, with the theme being love prevailing over conflict and the protection of children. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. Its realization took him nearly four years.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: How does The Intervention of the Sabine Women explain its abstract?

The Intervention of the Sabine Women is a 1799 painting by the French painter Jacques-Louis David, showing a legendary episode following the abduction of the Sabine women by the founding generation of Rome.Work on the painting commenced in 1796, after his estranged wife visited him in jail. He conceived the idea of telling the story, to honour his wife, with the theme being love prevailing over conflict and the protection of children. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. Its realization took him nearly four years.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: In The Intervention of the Sabine Women, how is the abstract discussed?

The Intervention of the Sabine Women is a 1799 painting by the French painter Jacques-Louis David, showing a legendary episode following the abduction of the Sabine women by the founding generation of Rome.Work on the painting commenced in 1796, after his estranged wife visited him in jail. He conceived the idea of telling the story, to honour his wife, with the theme being love prevailing over conflict and the protection of children. The painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. Its realization took him nearly four years.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: Focus on The Intervention of the Sabine Women and explain the Description.

The painting depicts Romulus's wife Hersilia – the daughter of Titus Tatius, leader of the Sabines – rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates.The rocky outcrop in the background is the Tarpeian Rock, a reference to civil conflict, since the Roman punishment for treason was to be thrown from the rock. According to legend, when Tatius attacked Rome, he almost succeeded in capturing the city because of the treason of the Vestal Virgin Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms". She believed that she would receive their golden bracelets. Instead, the Sabines crushed her to death and threw her from the rock, later named for her.The towering walls in the background of the painting have been interpreted as an allusion to the Bastille, whose storming on 14 July 1789 marked the beginning of the French Revolution.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: Explain the Description of this artwork, The Intervention of the Sabine Women.

The painting depicts Romulus's wife Hersilia – the daughter of Titus Tatius, leader of the Sabines – rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates.The rocky outcrop in the background is the Tarpeian Rock, a reference to civil conflict, since the Roman punishment for treason was to be thrown from the rock. According to legend, when Tatius attacked Rome, he almost succeeded in capturing the city because of the treason of the Vestal Virgin Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms". She believed that she would receive their golden bracelets. Instead, the Sabines crushed her to death and threw her from the rock, later named for her.The towering walls in the background of the painting have been interpreted as an allusion to the Bastille, whose storming on 14 July 1789 marked the beginning of the French Revolution.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: How does The Intervention of the Sabine Women explain its Description?

The painting depicts Romulus's wife Hersilia – the daughter of Titus Tatius, leader of the Sabines – rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates.The rocky outcrop in the background is the Tarpeian Rock, a reference to civil conflict, since the Roman punishment for treason was to be thrown from the rock. According to legend, when Tatius attacked Rome, he almost succeeded in capturing the city because of the treason of the Vestal Virgin Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms". She believed that she would receive their golden bracelets. Instead, the Sabines crushed her to death and threw her from the rock, later named for her.The towering walls in the background of the painting have been interpreted as an allusion to the Bastille, whose storming on 14 July 1789 marked the beginning of the French Revolution.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: In The Intervention of the Sabine Women, how is the Description discussed?

The painting depicts Romulus's wife Hersilia – the daughter of Titus Tatius, leader of the Sabines – rushing between her husband and her father and placing her babies between them. A vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates.The rocky outcrop in the background is the Tarpeian Rock, a reference to civil conflict, since the Roman punishment for treason was to be thrown from the rock. According to legend, when Tatius attacked Rome, he almost succeeded in capturing the city because of the treason of the Vestal Virgin Tarpeia, daughter of Spurius Tarpeius, governor of the citadel on the Capitoline Hill. She opened the city gates for the Sabines in return for "what they bore on their arms". She believed that she would receive their golden bracelets. Instead, the Sabines crushed her to death and threw her from the rock, later named for her.The towering walls in the background of the painting have been interpreted as an allusion to the Bastille, whose storming on 14 July 1789 marked the beginning of the French Revolution.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: Focus on The Intervention of the Sabine Women and explain the Production.

David began planning the work while he was imprisoned in the Luxembourg Palace from 29 May to 3 August 1795. France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David had been imprisoned as a supporter of Robespierre. David hesitated between representing either this subject or that of Homer reciting his verses to his fellow Greeks. He finally chose to make a canvas representing the Sabine women interposing themselves to separate the Romans and Sabines, as a "sequel" to Poussin's The Rape of the Sabine Women. According to a popular account, he was inspired to paint it in honour of his estranged wife, Charlotte, after she visited him there. He began preparations shortly after his release, in the autumn of 1795, assisted in his research by his student Pierre-Maximilien Delafontaine. From February 1796, he worked in a temporary studio in the Louvre, and later moved to premises on the Champs-Élysées.The female models for The Intervention of the Sabine Women were aristocratic women, whose appearances David blended with those of Classical sculptures. Numerous apocryphal anecdotes arose in Paris about the involvement of Adèle de Bellegarde and her sister Aurore, who modelled for the two central Sabine women. Aurore de Bellegarde became David's model for Hersilia, while Adèle modelled for the crouching figure seen to her right. Sources disagree as to how the arrangement began: in the version reported by Miette de Villars in 1850, the sisters and Thérésa Tallien, by then a leading figure in Parisian high society, heard that David had been struggling to find female models and visited his studio in the nude, offering to model for Hersilia. David is said to have exclaimed "Mesdames, me voilà comme Pâris devant les trois grâces!" ("Mesdames, here I am like Paris in front of the three Graces!"). In a second version reported by David's student Étienne-Jean Delécluze in 1855, the de Bellegardes were brought to the studio by Madame de Noailles, a friend of David's, and caught the painter's attention with their long and beautiful hairstyles. Certainly, both de Bellegarde sisters were well known among the Parisian art world, and for their acquaintance with artists of various genres.In de Villars' version, David was most taken by Aurore, who sat for Hersitia, only asking Adèle and Tallien to pose "out of politeness". According to Delécluze, however, it was Adèle's long, dark hair that most interested him: at the time, he had already painted the crouching figure next to Hersitia (which had been completed by October 1796), and expressed regret that he had not had de Bellegarde's face as a model from which to do so. De Bellegarde accordingly allowed him to repaint the figure's face and hair after her own, while he used part of Aurore's leg in his figure of Hersitia. David's use of the de Bellegarde sisters as models has been interpreted as creating a link between the mythological Sabine Women and Parisian women of his own time, which has itself been interpreted as "affording a familial basis for the reconciliation of a divided and warring post-Revolutionary France".According to Delécluze, the attention David paid to the painting of Adèle de Bellegarde's face led to rumours of an affair between her and the painter, which Delécluze considered baseless. Other rumours circulated as to whether she had posed fully nude.The Intervention of the Sabine Women was first exhibited at the Louvre on December 21 1799, a few weeks after the Coup of 18 Brumaire, in what has been described as "the major artistic event of the late 1790s in Paris." The diaphanous gowns worn by its female characters were credited for starting a fashion for similar outfits, known as dresses à la antique ("Ancient-style"), among Parisian high society.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: Explain the Production of this artwork, The Intervention of the Sabine Women.

David began planning the work while he was imprisoned in the Luxembourg Palace from 29 May to 3 August 1795. France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David had been imprisoned as a supporter of Robespierre. David hesitated between representing either this subject or that of Homer reciting his verses to his fellow Greeks. He finally chose to make a canvas representing the Sabine women interposing themselves to separate the Romans and Sabines, as a "sequel" to Poussin's The Rape of the Sabine Women. According to a popular account, he was inspired to paint it in honour of his estranged wife, Charlotte, after she visited him there. He began preparations shortly after his release, in the autumn of 1795, assisted in his research by his student Pierre-Maximilien Delafontaine. From February 1796, he worked in a temporary studio in the Louvre, and later moved to premises on the Champs-Élysées.The female models for The Intervention of the Sabine Women were aristocratic women, whose appearances David blended with those of Classical sculptures. Numerous apocryphal anecdotes arose in Paris about the involvement of Adèle de Bellegarde and her sister Aurore, who modelled for the two central Sabine women. Aurore de Bellegarde became David's model for Hersilia, while Adèle modelled for the crouching figure seen to her right. Sources disagree as to how the arrangement began: in the version reported by Miette de Villars in 1850, the sisters and Thérésa Tallien, by then a leading figure in Parisian high society, heard that David had been struggling to find female models and visited his studio in the nude, offering to model for Hersilia. David is said to have exclaimed "Mesdames, me voilà comme Pâris devant les trois grâces!" ("Mesdames, here I am like Paris in front of the three Graces!"). In a second version reported by David's student Étienne-Jean Delécluze in 1855, the de Bellegardes were brought to the studio by Madame de Noailles, a friend of David's, and caught the painter's attention with their long and beautiful hairstyles. Certainly, both de Bellegarde sisters were well known among the Parisian art world, and for their acquaintance with artists of various genres.In de Villars' version, David was most taken by Aurore, who sat for Hersitia, only asking Adèle and Tallien to pose "out of politeness". According to Delécluze, however, it was Adèle's long, dark hair that most interested him: at the time, he had already painted the crouching figure next to Hersitia (which had been completed by October 1796), and expressed regret that he had not had de Bellegarde's face as a model from which to do so. De Bellegarde accordingly allowed him to repaint the figure's face and hair after her own, while he used part of Aurore's leg in his figure of Hersitia. David's use of the de Bellegarde sisters as models has been interpreted as creating a link between the mythological Sabine Women and Parisian women of his own time, which has itself been interpreted as "affording a familial basis for the reconciliation of a divided and warring post-Revolutionary France".According to Delécluze, the attention David paid to the painting of Adèle de Bellegarde's face led to rumours of an affair between her and the painter, which Delécluze considered baseless. Other rumours circulated as to whether she had posed fully nude.The Intervention of the Sabine Women was first exhibited at the Louvre on December 21 1799, a few weeks after the Coup of 18 Brumaire, in what has been described as "the major artistic event of the late 1790s in Paris." The diaphanous gowns worn by its female characters were credited for starting a fashion for similar outfits, known as dresses à la antique ("Ancient-style"), among Parisian high society.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: How does The Intervention of the Sabine Women explain its Production?

David began planning the work while he was imprisoned in the Luxembourg Palace from 29 May to 3 August 1795. France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David had been imprisoned as a supporter of Robespierre. David hesitated between representing either this subject or that of Homer reciting his verses to his fellow Greeks. He finally chose to make a canvas representing the Sabine women interposing themselves to separate the Romans and Sabines, as a "sequel" to Poussin's The Rape of the Sabine Women. According to a popular account, he was inspired to paint it in honour of his estranged wife, Charlotte, after she visited him there. He began preparations shortly after his release, in the autumn of 1795, assisted in his research by his student Pierre-Maximilien Delafontaine. From February 1796, he worked in a temporary studio in the Louvre, and later moved to premises on the Champs-Élysées.The female models for The Intervention of the Sabine Women were aristocratic women, whose appearances David blended with those of Classical sculptures. Numerous apocryphal anecdotes arose in Paris about the involvement of Adèle de Bellegarde and her sister Aurore, who modelled for the two central Sabine women. Aurore de Bellegarde became David's model for Hersilia, while Adèle modelled for the crouching figure seen to her right. Sources disagree as to how the arrangement began: in the version reported by Miette de Villars in 1850, the sisters and Thérésa Tallien, by then a leading figure in Parisian high society, heard that David had been struggling to find female models and visited his studio in the nude, offering to model for Hersilia. David is said to have exclaimed "Mesdames, me voilà comme Pâris devant les trois grâces!" ("Mesdames, here I am like Paris in front of the three Graces!"). In a second version reported by David's student Étienne-Jean Delécluze in 1855, the de Bellegardes were brought to the studio by Madame de Noailles, a friend of David's, and caught the painter's attention with their long and beautiful hairstyles. Certainly, both de Bellegarde sisters were well known among the Parisian art world, and for their acquaintance with artists of various genres.In de Villars' version, David was most taken by Aurore, who sat for Hersitia, only asking Adèle and Tallien to pose "out of politeness". According to Delécluze, however, it was Adèle's long, dark hair that most interested him: at the time, he had already painted the crouching figure next to Hersitia (which had been completed by October 1796), and expressed regret that he had not had de Bellegarde's face as a model from which to do so. De Bellegarde accordingly allowed him to repaint the figure's face and hair after her own, while he used part of Aurore's leg in his figure of Hersitia. David's use of the de Bellegarde sisters as models has been interpreted as creating a link between the mythological Sabine Women and Parisian women of his own time, which has itself been interpreted as "affording a familial basis for the reconciliation of a divided and warring post-Revolutionary France".According to Delécluze, the attention David paid to the painting of Adèle de Bellegarde's face led to rumours of an affair between her and the painter, which Delécluze considered baseless. Other rumours circulated as to whether she had posed fully nude.The Intervention of the Sabine Women was first exhibited at the Louvre on December 21 1799, a few weeks after the Coup of 18 Brumaire, in what has been described as "the major artistic event of the late 1790s in Paris." The diaphanous gowns worn by its female characters were credited for starting a fashion for similar outfits, known as dresses à la antique ("Ancient-style"), among Parisian high society.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: In The Intervention of the Sabine Women, how is the Production discussed?

David began planning the work while he was imprisoned in the Luxembourg Palace from 29 May to 3 August 1795. France was at war with other European nations after a period of civil conflict culminating in the Reign of Terror and the Thermidorian Reaction, during which David had been imprisoned as a supporter of Robespierre. David hesitated between representing either this subject or that of Homer reciting his verses to his fellow Greeks. He finally chose to make a canvas representing the Sabine women interposing themselves to separate the Romans and Sabines, as a "sequel" to Poussin's The Rape of the Sabine Women. According to a popular account, he was inspired to paint it in honour of his estranged wife, Charlotte, after she visited him there. He began preparations shortly after his release, in the autumn of 1795, assisted in his research by his student Pierre-Maximilien Delafontaine. From February 1796, he worked in a temporary studio in the Louvre, and later moved to premises on the Champs-Élysées.The female models for The Intervention of the Sabine Women were aristocratic women, whose appearances David blended with those of Classical sculptures. Numerous apocryphal anecdotes arose in Paris about the involvement of Adèle de Bellegarde and her sister Aurore, who modelled for the two central Sabine women. Aurore de Bellegarde became David's model for Hersilia, while Adèle modelled for the crouching figure seen to her right. Sources disagree as to how the arrangement began: in the version reported by Miette de Villars in 1850, the sisters and Thérésa Tallien, by then a leading figure in Parisian high society, heard that David had been struggling to find female models and visited his studio in the nude, offering to model for Hersilia. David is said to have exclaimed "Mesdames, me voilà comme Pâris devant les trois grâces!" ("Mesdames, here I am like Paris in front of the three Graces!"). In a second version reported by David's student Étienne-Jean Delécluze in 1855, the de Bellegardes were brought to the studio by Madame de Noailles, a friend of David's, and caught the painter's attention with their long and beautiful hairstyles. Certainly, both de Bellegarde sisters were well known among the Parisian art world, and for their acquaintance with artists of various genres.In de Villars' version, David was most taken by Aurore, who sat for Hersitia, only asking Adèle and Tallien to pose "out of politeness". According to Delécluze, however, it was Adèle's long, dark hair that most interested him: at the time, he had already painted the crouching figure next to Hersitia (which had been completed by October 1796), and expressed regret that he had not had de Bellegarde's face as a model from which to do so. De Bellegarde accordingly allowed him to repaint the figure's face and hair after her own, while he used part of Aurore's leg in his figure of Hersitia. David's use of the de Bellegarde sisters as models has been interpreted as creating a link between the mythological Sabine Women and Parisian women of his own time, which has itself been interpreted as "affording a familial basis for the reconciliation of a divided and warring post-Revolutionary France".According to Delécluze, the attention David paid to the painting of Adèle de Bellegarde's face led to rumours of an affair between her and the painter, which Delécluze considered baseless. Other rumours circulated as to whether she had posed fully nude.The Intervention of the Sabine Women was first exhibited at the Louvre on December 21 1799, a few weeks after the Coup of 18 Brumaire, in what has been described as "the major artistic event of the late 1790s in Paris." The diaphanous gowns worn by its female characters were credited for starting a fashion for similar outfits, known as dresses à la antique ("Ancient-style"), among Parisian high society.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: Focus on The Intervention of the Sabine Women and explain the Influence.

The genesis of Les Sabines and the work itself represented a significant departure for the day. Historical depictions had been typically commissioned.  David however, conceived, produced and promoted his work for profit.  He produced marketing material to accompany the first exhibition.  Le Tableau des Sabines, Exposé Publiquement au Palais National des Sciences et des Arts ("the Tableau of the Sabines, Public Exhibition at the National Palace of Arts and Science") contained his own account of the historic episode and had an endnote explaining his rationale for using nudity in the painting. Its 1799 exhibition attracted a large number of paying visitors for several years. In 1819 David sold Les Sabines and his Léonidas at Thermopylae to the Royal Museums for 10,000 francs.Starting in 1977, France issued a series of stamps featuring the head of Hersilia based on David's painting.After the expulsion of artists including David from the Louvre, the painting was held in the ancient church of Cluny, which he used as a workshop. That building is now operated as the Musée de Cluny.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: Explain the Influence of this artwork, The Intervention of the Sabine Women.

The genesis of Les Sabines and the work itself represented a significant departure for the day. Historical depictions had been typically commissioned.  David however, conceived, produced and promoted his work for profit.  He produced marketing material to accompany the first exhibition.  Le Tableau des Sabines, Exposé Publiquement au Palais National des Sciences et des Arts ("the Tableau of the Sabines, Public Exhibition at the National Palace of Arts and Science") contained his own account of the historic episode and had an endnote explaining his rationale for using nudity in the painting. Its 1799 exhibition attracted a large number of paying visitors for several years. In 1819 David sold Les Sabines and his Léonidas at Thermopylae to the Royal Museums for 10,000 francs.Starting in 1977, France issued a series of stamps featuring the head of Hersilia based on David's painting.After the expulsion of artists including David from the Louvre, the painting was held in the ancient church of Cluny, which he used as a workshop. That building is now operated as the Musée de Cluny.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: How does The Intervention of the Sabine Women explain its Influence?

The genesis of Les Sabines and the work itself represented a significant departure for the day. Historical depictions had been typically commissioned.  David however, conceived, produced and promoted his work for profit.  He produced marketing material to accompany the first exhibition.  Le Tableau des Sabines, Exposé Publiquement au Palais National des Sciences et des Arts ("the Tableau of the Sabines, Public Exhibition at the National Palace of Arts and Science") contained his own account of the historic episode and had an endnote explaining his rationale for using nudity in the painting. Its 1799 exhibition attracted a large number of paying visitors for several years. In 1819 David sold Les Sabines and his Léonidas at Thermopylae to the Royal Museums for 10,000 francs.Starting in 1977, France issued a series of stamps featuring the head of Hersilia based on David's painting.After the expulsion of artists including David from the Louvre, the painting was held in the ancient church of Cluny, which he used as a workshop. That building is now operated as the Musée de Cluny.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


The Intervention of the Sabine Women

Prompt: In The Intervention of the Sabine Women, how is the Influence discussed?

The genesis of Les Sabines and the work itself represented a significant departure for the day. Historical depictions had been typically commissioned.  David however, conceived, produced and promoted his work for profit.  He produced marketing material to accompany the first exhibition.  Le Tableau des Sabines, Exposé Publiquement au Palais National des Sciences et des Arts ("the Tableau of the Sabines, Public Exhibition at the National Palace of Arts and Science") contained his own account of the historic episode and had an endnote explaining his rationale for using nudity in the painting. Its 1799 exhibition attracted a large number of paying visitors for several years. In 1819 David sold Les Sabines and his Léonidas at Thermopylae to the Royal Museums for 10,000 francs.Starting in 1977, France issued a series of stamps featuring the head of Hersilia based on David's painting.After the expulsion of artists including David from the Louvre, the painting was held in the ancient church of Cluny, which he used as a workshop. That building is now operated as the Musée de Cluny.

The Rape of the Sabine Women#Nicolas Poussin

List of paintings by Jacques-Louis David

Category:Mythological paintings by Jacques-Louis David

Category:Paintings in the Louvre by French artists


La Fornarina

Prompt: Focus on La Fornarina and explain the abstract.

The Portrait of a Young Woman (also known as La fornarina) is a painting by the  Italian High Renaissance master Raphael, made between 1518 and 1519. It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.It is probable that the picture was in the painter's studio at his death in 1520, and that it was modified and then sold by his assistant Giulio Romano.Art-history tradition or legend identifies the woman as the fornarina ("baker" or "baker's daughter")  Margherita Luti, Raphael's Roman lover who refused to marry him, though this identification has been questioned. An alternative view sees the work not as a portrait of a specific woman, but rather as Raphael's interpretation of a belle donne genre and a depiction of a courtesan. Still another interpretation identifies the figure as a witch.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: Explain the abstract of this artwork, La Fornarina.

The Portrait of a Young Woman (also known as La fornarina) is a painting by the  Italian High Renaissance master Raphael, made between 1518 and 1519. It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.It is probable that the picture was in the painter's studio at his death in 1520, and that it was modified and then sold by his assistant Giulio Romano.Art-history tradition or legend identifies the woman as the fornarina ("baker" or "baker's daughter")  Margherita Luti, Raphael's Roman lover who refused to marry him, though this identification has been questioned. An alternative view sees the work not as a portrait of a specific woman, but rather as Raphael's interpretation of a belle donne genre and a depiction of a courtesan. Still another interpretation identifies the figure as a witch.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: How does La Fornarina explain its abstract?

The Portrait of a Young Woman (also known as La fornarina) is a painting by the  Italian High Renaissance master Raphael, made between 1518 and 1519. It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.It is probable that the picture was in the painter's studio at his death in 1520, and that it was modified and then sold by his assistant Giulio Romano.Art-history tradition or legend identifies the woman as the fornarina ("baker" or "baker's daughter")  Margherita Luti, Raphael's Roman lover who refused to marry him, though this identification has been questioned. An alternative view sees the work not as a portrait of a specific woman, but rather as Raphael's interpretation of a belle donne genre and a depiction of a courtesan. Still another interpretation identifies the figure as a witch.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: In La Fornarina, how is the abstract discussed?

The Portrait of a Young Woman (also known as La fornarina) is a painting by the  Italian High Renaissance master Raphael, made between 1518 and 1519. It is in the Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome.It is probable that the picture was in the painter's studio at his death in 1520, and that it was modified and then sold by his assistant Giulio Romano.Art-history tradition or legend identifies the woman as the fornarina ("baker" or "baker's daughter")  Margherita Luti, Raphael's Roman lover who refused to marry him, though this identification has been questioned. An alternative view sees the work not as a portrait of a specific woman, but rather as Raphael's interpretation of a belle donne genre and a depiction of a courtesan. Still another interpretation identifies the figure as a witch.

Category:Collection of the Galleria Nazionale d'Arte Antica


La Fornarina

Prompt: In the context of La Fornarina, explain the Description of painting and the Description.

The painting depicts a nude woman wearing a thin veil to cover her lower abdomen and is seen half covering her left breast. She wears a blue and yellow turban over her dark hair; a thicker red cloth covers her legs and genital region. The figure appears healthy with smooth skin, full proportions and a faint pink tint in her cheeks. Her eyes are looking towards the left, and she wears a small, possibly amused smile. La Fornarina is also wearing an armband engraved with the painter's signature, "Raphael Vrbinas".

Category:Collection of the Galleria Nazionale d'Arte Antica