The Monk by the Sea

Prompt: Explain the Development of this artwork, The Monk by the Sea.

A single figure, dressed in a long garment, stands on a low dune sprinkled with grass. The figure, usually identified as a monk, has turned almost completely away from the viewer and surveys a rough sea and a gray, blank sky that takes up about three quarters of the picture. It is unclear whether he is standing on a high rock or only on a gentle slope to the sea. The dune forms an inexpressive triangle in the composition, at the farthest point of which is the figure. Contrasting with the dark ocean there are several whitecaps of waves sometimes mistaken for seagulls.Although Friedrich's paintings are landscapes, he designed and painted them in his studio, using freely drawn plein air sketches, from which he chose the most evocative elements to integrate into an expressive composition. The composition of The Monk by the Sea shows evidence of this reductive process, as Friedrich removed elements from the canvas after they were painted. Recent scientific investigations have revealed that he had initially painted two small sailing ships on the horizon, which he later removed. Friedrich continued to modify the details of the painting right up to its exhibition—to the sky's grey was added blue, with stars and a moon—but the basic composition always stayed the same.The picture appeared at a time when Friedrich had his first public success and critical acknowledgment with his controversial Tetschener Altar, a work that explicitly fused the landscape format with a religious theme. The Monk by the Sea furthered his success and drew much attention.Friedrich probably began the painting in Dresden, 1808. In a letter of February 1809, he described the image for the first time. The stages in its conception were also documented by guests to his studio. In June 1809, the wife of painter Gerhard von Kügelgen, an acquaintance of Friedrich, visited him and later criticized the painting in a letter; she was put off by the loneliness of the setting and the lack of consolation that movement or narrative might provide the "unending space of air".Art historian Albert Boime believed that the figure of the monk was Friedrich, walking on the cliffs at Rügen, which would place the subject near the site where a Protestant mystic built a chapel for poor fishermen who were far from home and wished to profess their faith. The identification of the monk as a self-portrait has been accepted by other scholars, both for physical resemblances to Friedrich (the long blond hair and round skull), and for the fact that, in keeping with the perception of artists as belonging to a "higher priesthood", Friedrich later painted himself in a monk's clothing.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: How does The Monk by the Sea explain its Development?

A single figure, dressed in a long garment, stands on a low dune sprinkled with grass. The figure, usually identified as a monk, has turned almost completely away from the viewer and surveys a rough sea and a gray, blank sky that takes up about three quarters of the picture. It is unclear whether he is standing on a high rock or only on a gentle slope to the sea. The dune forms an inexpressive triangle in the composition, at the farthest point of which is the figure. Contrasting with the dark ocean there are several whitecaps of waves sometimes mistaken for seagulls.Although Friedrich's paintings are landscapes, he designed and painted them in his studio, using freely drawn plein air sketches, from which he chose the most evocative elements to integrate into an expressive composition. The composition of The Monk by the Sea shows evidence of this reductive process, as Friedrich removed elements from the canvas after they were painted. Recent scientific investigations have revealed that he had initially painted two small sailing ships on the horizon, which he later removed. Friedrich continued to modify the details of the painting right up to its exhibition—to the sky's grey was added blue, with stars and a moon—but the basic composition always stayed the same.The picture appeared at a time when Friedrich had his first public success and critical acknowledgment with his controversial Tetschener Altar, a work that explicitly fused the landscape format with a religious theme. The Monk by the Sea furthered his success and drew much attention.Friedrich probably began the painting in Dresden, 1808. In a letter of February 1809, he described the image for the first time. The stages in its conception were also documented by guests to his studio. In June 1809, the wife of painter Gerhard von Kügelgen, an acquaintance of Friedrich, visited him and later criticized the painting in a letter; she was put off by the loneliness of the setting and the lack of consolation that movement or narrative might provide the "unending space of air".Art historian Albert Boime believed that the figure of the monk was Friedrich, walking on the cliffs at Rügen, which would place the subject near the site where a Protestant mystic built a chapel for poor fishermen who were far from home and wished to profess their faith. The identification of the monk as a self-portrait has been accepted by other scholars, both for physical resemblances to Friedrich (the long blond hair and round skull), and for the fact that, in keeping with the perception of artists as belonging to a "higher priesthood", Friedrich later painted himself in a monk's clothing.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: In The Monk by the Sea, how is the Development discussed?

A single figure, dressed in a long garment, stands on a low dune sprinkled with grass. The figure, usually identified as a monk, has turned almost completely away from the viewer and surveys a rough sea and a gray, blank sky that takes up about three quarters of the picture. It is unclear whether he is standing on a high rock or only on a gentle slope to the sea. The dune forms an inexpressive triangle in the composition, at the farthest point of which is the figure. Contrasting with the dark ocean there are several whitecaps of waves sometimes mistaken for seagulls.Although Friedrich's paintings are landscapes, he designed and painted them in his studio, using freely drawn plein air sketches, from which he chose the most evocative elements to integrate into an expressive composition. The composition of The Monk by the Sea shows evidence of this reductive process, as Friedrich removed elements from the canvas after they were painted. Recent scientific investigations have revealed that he had initially painted two small sailing ships on the horizon, which he later removed. Friedrich continued to modify the details of the painting right up to its exhibition—to the sky's grey was added blue, with stars and a moon—but the basic composition always stayed the same.The picture appeared at a time when Friedrich had his first public success and critical acknowledgment with his controversial Tetschener Altar, a work that explicitly fused the landscape format with a religious theme. The Monk by the Sea furthered his success and drew much attention.Friedrich probably began the painting in Dresden, 1808. In a letter of February 1809, he described the image for the first time. The stages in its conception were also documented by guests to his studio. In June 1809, the wife of painter Gerhard von Kügelgen, an acquaintance of Friedrich, visited him and later criticized the painting in a letter; she was put off by the loneliness of the setting and the lack of consolation that movement or narrative might provide the "unending space of air".Art historian Albert Boime believed that the figure of the monk was Friedrich, walking on the cliffs at Rügen, which would place the subject near the site where a Protestant mystic built a chapel for poor fishermen who were far from home and wished to profess their faith. The identification of the monk as a self-portrait has been accepted by other scholars, both for physical resemblances to Friedrich (the long blond hair and round skull), and for the fact that, in keeping with the perception of artists as belonging to a "higher priesthood", Friedrich later painted himself in a monk's clothing.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: Focus on The Monk by the Sea and explain the Contemporary reception.

The painting was exhibited in its current form at the Berlin Academy in October 1810, to much controversy and criticism. The composition notably lacks a repoussoir—a framing device that leads the viewer's gaze into the image. Rather, the emptiness of the foreground is overwhelming. It is commonly argued[By who] that a viewer of this painting has difficulty relating himself to the picture's space. One cannot mentally "penetrate" the image: Friedrich has created an unbridgeable gap between the monk and the viewer. The monk is cut off from us spatially and existentially, and there are no traditional landscape elements that might soften the effect—only a cold sky and a flat foreground, void of greenery, and a dark sea, reduced to a narrow band on which no vessels sail. Friedrich has compressed space in a manner anticipating abstract art; The Monk by the Sea has been described as "perhaps the first 'abstract' painting in a very modern sense."In the month of the exhibition, German Romantic author Clemens Brentano submitted an article on the painting to the Berliner Abendblätter, a new daily journal edited by his friend Heinrich von Kleist. The piece, titled "Different Feelings about a Seascape by Friedrich on which is a Capuchin Monk",  was critical of the work, but Kleist substantially revised Brentano's text to produce an article sympathetic to Friedrich's painting. Kleist's commentary has become a central element in discussion of the painting and of Friedrich; the two men are seen as at odds with the aesthetic of the more conventional German Romantics, in which Brentano was firmly entrenched.Kleist wrote, for example:How wonderful it is to sit completely alone by the sea under an overcast sky, gazing out over the endless expanse of water. It is essential that one has come there just for this reason, and that one has to return. That one would like to go over the sea but cannot; that one misses any sign of life, and yet one senses the voice of life in the rush of the water, in the blowing of the wind, in the drifting of the clouds, in the lonely cry of the birds ... No situation in the world could be more sad and eerie than this—as the only spark of life in the wide realm of death, a lonely center in a lonely circle... Nevertheless, this definitively marks a totally new departure in Friedrich's art...More famously, Kleist also wrote, "since in its monotony and boundlessness it has no foreground except the frame, when viewing it, it is as if one's eyelids had been cut away."The painting was too minimalist for Johann Wolfgang von Goethe, who had been a supporter of Friedrich by introducing his work to the duke of Weimar and  gaining prizes for him at an 1805 exhibition. Goethe said the painting "could be looked at standing on one's head," making a criticism that would be levied against abstract artists a century later.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: Explain the Contemporary reception of this artwork, The Monk by the Sea.

The painting was exhibited in its current form at the Berlin Academy in October 1810, to much controversy and criticism. The composition notably lacks a repoussoir—a framing device that leads the viewer's gaze into the image. Rather, the emptiness of the foreground is overwhelming. It is commonly argued[By who] that a viewer of this painting has difficulty relating himself to the picture's space. One cannot mentally "penetrate" the image: Friedrich has created an unbridgeable gap between the monk and the viewer. The monk is cut off from us spatially and existentially, and there are no traditional landscape elements that might soften the effect—only a cold sky and a flat foreground, void of greenery, and a dark sea, reduced to a narrow band on which no vessels sail. Friedrich has compressed space in a manner anticipating abstract art; The Monk by the Sea has been described as "perhaps the first 'abstract' painting in a very modern sense."In the month of the exhibition, German Romantic author Clemens Brentano submitted an article on the painting to the Berliner Abendblätter, a new daily journal edited by his friend Heinrich von Kleist. The piece, titled "Different Feelings about a Seascape by Friedrich on which is a Capuchin Monk",  was critical of the work, but Kleist substantially revised Brentano's text to produce an article sympathetic to Friedrich's painting. Kleist's commentary has become a central element in discussion of the painting and of Friedrich; the two men are seen as at odds with the aesthetic of the more conventional German Romantics, in which Brentano was firmly entrenched.Kleist wrote, for example:How wonderful it is to sit completely alone by the sea under an overcast sky, gazing out over the endless expanse of water. It is essential that one has come there just for this reason, and that one has to return. That one would like to go over the sea but cannot; that one misses any sign of life, and yet one senses the voice of life in the rush of the water, in the blowing of the wind, in the drifting of the clouds, in the lonely cry of the birds ... No situation in the world could be more sad and eerie than this—as the only spark of life in the wide realm of death, a lonely center in a lonely circle... Nevertheless, this definitively marks a totally new departure in Friedrich's art...More famously, Kleist also wrote, "since in its monotony and boundlessness it has no foreground except the frame, when viewing it, it is as if one's eyelids had been cut away."The painting was too minimalist for Johann Wolfgang von Goethe, who had been a supporter of Friedrich by introducing his work to the duke of Weimar and  gaining prizes for him at an 1805 exhibition. Goethe said the painting "could be looked at standing on one's head," making a criticism that would be levied against abstract artists a century later.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: How does The Monk by the Sea explain its Contemporary reception?

The painting was exhibited in its current form at the Berlin Academy in October 1810, to much controversy and criticism. The composition notably lacks a repoussoir—a framing device that leads the viewer's gaze into the image. Rather, the emptiness of the foreground is overwhelming. It is commonly argued[By who] that a viewer of this painting has difficulty relating himself to the picture's space. One cannot mentally "penetrate" the image: Friedrich has created an unbridgeable gap between the monk and the viewer. The monk is cut off from us spatially and existentially, and there are no traditional landscape elements that might soften the effect—only a cold sky and a flat foreground, void of greenery, and a dark sea, reduced to a narrow band on which no vessels sail. Friedrich has compressed space in a manner anticipating abstract art; The Monk by the Sea has been described as "perhaps the first 'abstract' painting in a very modern sense."In the month of the exhibition, German Romantic author Clemens Brentano submitted an article on the painting to the Berliner Abendblätter, a new daily journal edited by his friend Heinrich von Kleist. The piece, titled "Different Feelings about a Seascape by Friedrich on which is a Capuchin Monk",  was critical of the work, but Kleist substantially revised Brentano's text to produce an article sympathetic to Friedrich's painting. Kleist's commentary has become a central element in discussion of the painting and of Friedrich; the two men are seen as at odds with the aesthetic of the more conventional German Romantics, in which Brentano was firmly entrenched.Kleist wrote, for example:How wonderful it is to sit completely alone by the sea under an overcast sky, gazing out over the endless expanse of water. It is essential that one has come there just for this reason, and that one has to return. That one would like to go over the sea but cannot; that one misses any sign of life, and yet one senses the voice of life in the rush of the water, in the blowing of the wind, in the drifting of the clouds, in the lonely cry of the birds ... No situation in the world could be more sad and eerie than this—as the only spark of life in the wide realm of death, a lonely center in a lonely circle... Nevertheless, this definitively marks a totally new departure in Friedrich's art...More famously, Kleist also wrote, "since in its monotony and boundlessness it has no foreground except the frame, when viewing it, it is as if one's eyelids had been cut away."The painting was too minimalist for Johann Wolfgang von Goethe, who had been a supporter of Friedrich by introducing his work to the duke of Weimar and  gaining prizes for him at an 1805 exhibition. Goethe said the painting "could be looked at standing on one's head," making a criticism that would be levied against abstract artists a century later.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: In The Monk by the Sea, how is the Contemporary reception discussed?

The painting was exhibited in its current form at the Berlin Academy in October 1810, to much controversy and criticism. The composition notably lacks a repoussoir—a framing device that leads the viewer's gaze into the image. Rather, the emptiness of the foreground is overwhelming. It is commonly argued[By who] that a viewer of this painting has difficulty relating himself to the picture's space. One cannot mentally "penetrate" the image: Friedrich has created an unbridgeable gap between the monk and the viewer. The monk is cut off from us spatially and existentially, and there are no traditional landscape elements that might soften the effect—only a cold sky and a flat foreground, void of greenery, and a dark sea, reduced to a narrow band on which no vessels sail. Friedrich has compressed space in a manner anticipating abstract art; The Monk by the Sea has been described as "perhaps the first 'abstract' painting in a very modern sense."In the month of the exhibition, German Romantic author Clemens Brentano submitted an article on the painting to the Berliner Abendblätter, a new daily journal edited by his friend Heinrich von Kleist. The piece, titled "Different Feelings about a Seascape by Friedrich on which is a Capuchin Monk",  was critical of the work, but Kleist substantially revised Brentano's text to produce an article sympathetic to Friedrich's painting. Kleist's commentary has become a central element in discussion of the painting and of Friedrich; the two men are seen as at odds with the aesthetic of the more conventional German Romantics, in which Brentano was firmly entrenched.Kleist wrote, for example:How wonderful it is to sit completely alone by the sea under an overcast sky, gazing out over the endless expanse of water. It is essential that one has come there just for this reason, and that one has to return. That one would like to go over the sea but cannot; that one misses any sign of life, and yet one senses the voice of life in the rush of the water, in the blowing of the wind, in the drifting of the clouds, in the lonely cry of the birds ... No situation in the world could be more sad and eerie than this—as the only spark of life in the wide realm of death, a lonely center in a lonely circle... Nevertheless, this definitively marks a totally new departure in Friedrich's art...More famously, Kleist also wrote, "since in its monotony and boundlessness it has no foreground except the frame, when viewing it, it is as if one's eyelids had been cut away."The painting was too minimalist for Johann Wolfgang von Goethe, who had been a supporter of Friedrich by introducing his work to the duke of Weimar and  gaining prizes for him at an 1805 exhibition. Goethe said the painting "could be looked at standing on one's head," making a criticism that would be levied against abstract artists a century later.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: Focus on The Monk by the Sea and explain the Influence.

The Monk by the Sea inspired responses from painters like Gustave Courbet and James Abbott McNeill Whistler later in the 19th century. In works such as Gustave Courbet's The Coast Near Palavas a lone figure is depicted as a seeker, similarly exposed and looking out to sea.Friedrich, though a Romantic painter, had a significant influence on later Symbolist and Expressionist artists. Franz Marc's Horse in a Landscape (1910) has been described as formally similar to The Monk by the Sea. Although their use of colour is at two extremes, both paintings are compositionally simple, with undulating horizontals and a figure that looks out at the same scene as the viewer. In his 1961 article "The Abstract Sublime", the art historian Robert Rosenblum drew comparisons between the Romantic landscape paintings of both Friedrich and J. M. W. Turner with the Abstract Expressionist paintings of Mark Rothko. Rosenblum specifically describes The Monk by the Sea, Turner's The Evening Star and Rothko's 1954 Light, Earth and Blue as revealing affinities of vision and feeling. According to Rosenblum, "Rothko, like Friedrich and Turner, places us on the threshold of those shapeless infinities discussed by the aestheticians of the Sublime. The tiny monk in the Friedrich and the fisher in the Turner establish a poignant contrast between the infinite vastness of a pantheistic God and the infinite smallness of His creatures. In the abstract language of Rothko, such literal detail—a bridge of empathy between the real spectator and the presentation of a transcendental landscape—is no longer necessary; we ourselves are the monk before the sea, standing silently and contemplatively before these huge and soundless pictures as if we were looking at a sunset or a moonlit night." From the 1960s on, Gotthard Graubner's picture-size coloured cushions or "color-space bodies" were also inspired by Friedrich's The Monk by the Sea. According to art historian Werner Hofmann, both Graubner and Friedrich created an aesthetics of monotony as a counterpart to the aesthetics of variety that was predominant before the nineteenth century.It has been noted that the setting and framing of several shots in the "meat grinder" scene from Andrei Tarkovsky's Stalker bear a strong resemblance to The Monk By The Sea.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: Explain the Influence of this artwork, The Monk by the Sea.

The Monk by the Sea inspired responses from painters like Gustave Courbet and James Abbott McNeill Whistler later in the 19th century. In works such as Gustave Courbet's The Coast Near Palavas a lone figure is depicted as a seeker, similarly exposed and looking out to sea.Friedrich, though a Romantic painter, had a significant influence on later Symbolist and Expressionist artists. Franz Marc's Horse in a Landscape (1910) has been described as formally similar to The Monk by the Sea. Although their use of colour is at two extremes, both paintings are compositionally simple, with undulating horizontals and a figure that looks out at the same scene as the viewer. In his 1961 article "The Abstract Sublime", the art historian Robert Rosenblum drew comparisons between the Romantic landscape paintings of both Friedrich and J. M. W. Turner with the Abstract Expressionist paintings of Mark Rothko. Rosenblum specifically describes The Monk by the Sea, Turner's The Evening Star and Rothko's 1954 Light, Earth and Blue as revealing affinities of vision and feeling. According to Rosenblum, "Rothko, like Friedrich and Turner, places us on the threshold of those shapeless infinities discussed by the aestheticians of the Sublime. The tiny monk in the Friedrich and the fisher in the Turner establish a poignant contrast between the infinite vastness of a pantheistic God and the infinite smallness of His creatures. In the abstract language of Rothko, such literal detail—a bridge of empathy between the real spectator and the presentation of a transcendental landscape—is no longer necessary; we ourselves are the monk before the sea, standing silently and contemplatively before these huge and soundless pictures as if we were looking at a sunset or a moonlit night." From the 1960s on, Gotthard Graubner's picture-size coloured cushions or "color-space bodies" were also inspired by Friedrich's The Monk by the Sea. According to art historian Werner Hofmann, both Graubner and Friedrich created an aesthetics of monotony as a counterpart to the aesthetics of variety that was predominant before the nineteenth century.It has been noted that the setting and framing of several shots in the "meat grinder" scene from Andrei Tarkovsky's Stalker bear a strong resemblance to The Monk By The Sea.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: How does The Monk by the Sea explain its Influence?

The Monk by the Sea inspired responses from painters like Gustave Courbet and James Abbott McNeill Whistler later in the 19th century. In works such as Gustave Courbet's The Coast Near Palavas a lone figure is depicted as a seeker, similarly exposed and looking out to sea.Friedrich, though a Romantic painter, had a significant influence on later Symbolist and Expressionist artists. Franz Marc's Horse in a Landscape (1910) has been described as formally similar to The Monk by the Sea. Although their use of colour is at two extremes, both paintings are compositionally simple, with undulating horizontals and a figure that looks out at the same scene as the viewer. In his 1961 article "The Abstract Sublime", the art historian Robert Rosenblum drew comparisons between the Romantic landscape paintings of both Friedrich and J. M. W. Turner with the Abstract Expressionist paintings of Mark Rothko. Rosenblum specifically describes The Monk by the Sea, Turner's The Evening Star and Rothko's 1954 Light, Earth and Blue as revealing affinities of vision and feeling. According to Rosenblum, "Rothko, like Friedrich and Turner, places us on the threshold of those shapeless infinities discussed by the aestheticians of the Sublime. The tiny monk in the Friedrich and the fisher in the Turner establish a poignant contrast between the infinite vastness of a pantheistic God and the infinite smallness of His creatures. In the abstract language of Rothko, such literal detail—a bridge of empathy between the real spectator and the presentation of a transcendental landscape—is no longer necessary; we ourselves are the monk before the sea, standing silently and contemplatively before these huge and soundless pictures as if we were looking at a sunset or a moonlit night." From the 1960s on, Gotthard Graubner's picture-size coloured cushions or "color-space bodies" were also inspired by Friedrich's The Monk by the Sea. According to art historian Werner Hofmann, both Graubner and Friedrich created an aesthetics of monotony as a counterpart to the aesthetics of variety that was predominant before the nineteenth century.It has been noted that the setting and framing of several shots in the "meat grinder" scene from Andrei Tarkovsky's Stalker bear a strong resemblance to The Monk By The Sea.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


The Monk by the Sea

Prompt: In The Monk by the Sea, how is the Influence discussed?

The Monk by the Sea inspired responses from painters like Gustave Courbet and James Abbott McNeill Whistler later in the 19th century. In works such as Gustave Courbet's The Coast Near Palavas a lone figure is depicted as a seeker, similarly exposed and looking out to sea.Friedrich, though a Romantic painter, had a significant influence on later Symbolist and Expressionist artists. Franz Marc's Horse in a Landscape (1910) has been described as formally similar to The Monk by the Sea. Although their use of colour is at two extremes, both paintings are compositionally simple, with undulating horizontals and a figure that looks out at the same scene as the viewer. In his 1961 article "The Abstract Sublime", the art historian Robert Rosenblum drew comparisons between the Romantic landscape paintings of both Friedrich and J. M. W. Turner with the Abstract Expressionist paintings of Mark Rothko. Rosenblum specifically describes The Monk by the Sea, Turner's The Evening Star and Rothko's 1954 Light, Earth and Blue as revealing affinities of vision and feeling. According to Rosenblum, "Rothko, like Friedrich and Turner, places us on the threshold of those shapeless infinities discussed by the aestheticians of the Sublime. The tiny monk in the Friedrich and the fisher in the Turner establish a poignant contrast between the infinite vastness of a pantheistic God and the infinite smallness of His creatures. In the abstract language of Rothko, such literal detail—a bridge of empathy between the real spectator and the presentation of a transcendental landscape—is no longer necessary; we ourselves are the monk before the sea, standing silently and contemplatively before these huge and soundless pictures as if we were looking at a sunset or a moonlit night." From the 1960s on, Gotthard Graubner's picture-size coloured cushions or "color-space bodies" were also inspired by Friedrich's The Monk by the Sea. According to art historian Werner Hofmann, both Graubner and Friedrich created an aesthetics of monotony as a counterpart to the aesthetics of variety that was predominant before the nineteenth century.It has been noted that the setting and framing of several shots in the "meat grinder" scene from Andrei Tarkovsky's Stalker bear a strong resemblance to The Monk By The Sea.

File:James Abbot McNeill Whistler 007.jpg

Category:Paintings by Caspar David Friedrich

Category:Frederick William III of Prussia

Category:Paintings in the Alte Nationalgalerie

File:Der Moench am Meer (Ausschnitt).jpg


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the abstract.

Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the abstract of this artwork, Neptune and Triton.

Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its abstract?

Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the abstract discussed?

Neptune and Triton is an early sculpture by the Italian artist Gian Lorenzo Bernini. It is housed in the Victoria and Albert Museum of London and was executed c. 1622–1623. Carved from marble, it stands 182.2 cm (71.7 in) in height.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the History.

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome. The group was placed in the pre-existing oval pool (called the Peschiera or Peschierone), designed by Domenico Fontana in 1579–81.It was purchased by the Englishman Thomas Jenkins in 1786, from whom it was purchased later that year by the painter Joshua Reynolds. The work had been called "Neptune and Glaucus" following Filippo Baldinucci's biography of the artist, but appears as "Nettvno, e Tritone" in Domenico de' Rossi's engraving (1704), and also later corrected to "Neptune and Triton" following Reynolds' notes.After Reynolds's death in 1792 it was sold to Charles Anderson-Pelham, 1st Baron Yarborough, who kept it in the garden of his home in Chelsea, London, Walpole House. His descendants moved it in 1906 to their country house, Brocklesby Hall, Lincolnshire. It was bought from the family by the Victoria and Albert Museum in 1950, although it had appeared at an exhibition at the Royal Academy in London in 1938.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the History of this artwork, Neptune and Triton.

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome. The group was placed in the pre-existing oval pool (called the Peschiera or Peschierone), designed by Domenico Fontana in 1579–81.It was purchased by the Englishman Thomas Jenkins in 1786, from whom it was purchased later that year by the painter Joshua Reynolds. The work had been called "Neptune and Glaucus" following Filippo Baldinucci's biography of the artist, but appears as "Nettvno, e Tritone" in Domenico de' Rossi's engraving (1704), and also later corrected to "Neptune and Triton" following Reynolds' notes.After Reynolds's death in 1792 it was sold to Charles Anderson-Pelham, 1st Baron Yarborough, who kept it in the garden of his home in Chelsea, London, Walpole House. His descendants moved it in 1906 to their country house, Brocklesby Hall, Lincolnshire. It was bought from the family by the Victoria and Albert Museum in 1950, although it had appeared at an exhibition at the Royal Academy in London in 1938.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its History?

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome. The group was placed in the pre-existing oval pool (called the Peschiera or Peschierone), designed by Domenico Fontana in 1579–81.It was purchased by the Englishman Thomas Jenkins in 1786, from whom it was purchased later that year by the painter Joshua Reynolds. The work had been called "Neptune and Glaucus" following Filippo Baldinucci's biography of the artist, but appears as "Nettvno, e Tritone" in Domenico de' Rossi's engraving (1704), and also later corrected to "Neptune and Triton" following Reynolds' notes.After Reynolds's death in 1792 it was sold to Charles Anderson-Pelham, 1st Baron Yarborough, who kept it in the garden of his home in Chelsea, London, Walpole House. His descendants moved it in 1906 to their country house, Brocklesby Hall, Lincolnshire. It was bought from the family by the Victoria and Albert Museum in 1950, although it had appeared at an exhibition at the Royal Academy in London in 1938.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the History discussed?

The marble sculpture group was originally commissioned by Cardinal Alessandro Damascenti-Peretti Montalto in 1620, and executed March 1622 to February 1623, serving as a fountain to decorate the pond in the garden of his Villa Peretti Montalto on the Viminal Hill in Rome. The group was placed in the pre-existing oval pool (called the Peschiera or Peschierone), designed by Domenico Fontana in 1579–81.It was purchased by the Englishman Thomas Jenkins in 1786, from whom it was purchased later that year by the painter Joshua Reynolds. The work had been called "Neptune and Glaucus" following Filippo Baldinucci's biography of the artist, but appears as "Nettvno, e Tritone" in Domenico de' Rossi's engraving (1704), and also later corrected to "Neptune and Triton" following Reynolds' notes.After Reynolds's death in 1792 it was sold to Charles Anderson-Pelham, 1st Baron Yarborough, who kept it in the garden of his home in Chelsea, London, Walpole House. His descendants moved it in 1906 to their country house, Brocklesby Hall, Lincolnshire. It was bought from the family by the Victoria and Albert Museum in 1950, although it had appeared at an exhibition at the Royal Academy in London in 1938.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the Literary reference.

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid or both, together with additional material.In Ovid's Metamorphoses, Neptune bids Triton to blow his shell to calm the waves, In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Literary reference of this artwork, Neptune and Triton.

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid or both, together with additional material.In Ovid's Metamorphoses, Neptune bids Triton to blow his shell to calm the waves, In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its Literary reference?

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid or both, together with additional material.In Ovid's Metamorphoses, Neptune bids Triton to blow his shell to calm the waves, In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Literary reference discussed?

The scene is thought to be making loose allusions to Neptune and Triton aiding Trojan ships as described, by Virgil, or Ovid or both, together with additional material.In Ovid's Metamorphoses, Neptune bids Triton to blow his shell to calm the waves, In Virgil's Aeneid, Neptune calms the waves and afterwards, the nereid Cymothoe and Triton dislodge Aeneas's ships, helped in the effort by Neptune using the trident. But neither passages precisely match and the artist must have patched together a version using other sources.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the Iconography.

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, while Triton is blowing his conch. The conch was designed to spurt out gushing water, in order that the sculpture could serve as a fountain.The posture of Neptune's stance, the filling-in of the reverse-V-shaped negative space by another figure (of Triton), were "radical" departures from for Bernini, as it was his "first work in which the silhouette (i.e. block-shape) is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism ("the great sweeping movement which animates both David and Pluto [and Daphne] ") in his subsequent works.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Iconography of this artwork, Neptune and Triton.

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, while Triton is blowing his conch. The conch was designed to spurt out gushing water, in order that the sculpture could serve as a fountain.The posture of Neptune's stance, the filling-in of the reverse-V-shaped negative space by another figure (of Triton), were "radical" departures from for Bernini, as it was his "first work in which the silhouette (i.e. block-shape) is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism ("the great sweeping movement which animates both David and Pluto [and Daphne] ") in his subsequent works.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its Iconography?

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, while Triton is blowing his conch. The conch was designed to spurt out gushing water, in order that the sculpture could serve as a fountain.The posture of Neptune's stance, the filling-in of the reverse-V-shaped negative space by another figure (of Triton), were "radical" departures from for Bernini, as it was his "first work in which the silhouette (i.e. block-shape) is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism ("the great sweeping movement which animates both David and Pluto [and Daphne] ") in his subsequent works.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Iconography discussed?

The composition of Bernini's Neptune and Triton consists of Neptune standing astride over Triton; Triton lies in sort of a "crouching" position; the two figures mounted on a large half-shell, which serves as socle.Neptune aims his trident seawards, while Triton is blowing his conch. The conch was designed to spurt out gushing water, in order that the sculpture could serve as a fountain.The posture of Neptune's stance, the filling-in of the reverse-V-shaped negative space by another figure (of Triton), were "radical" departures from for Bernini, as it was his "first work in which the silhouette (i.e. block-shape) is broken",  and his achievement of "full Baroque freedom", in the words of Rudolf Wittkower. However, Wittkower also qualified that Bernini was yet to attain the dynamism ("the great sweeping movement which animates both David and Pluto [and Daphne] ") in his subsequent works.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In the context of Neptune and Triton, explain the Neptune and the Iconography.

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins (but not Triton), as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Neptune about the Iconography of this artwork, Neptune and Triton.

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins (but not Triton), as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Neptune of the Iconography explained?

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins (but not Triton), as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Describe the characteristics of the Neptune in Neptune and Triton's Iconography.

Neptune is represented as a "mature bearded", muscular figure of male authority, twisting his torso as he is about to thrust his trident in downward motion towards water. Neptune sports a cloak, but is otherwise naked. His "touseled hair and beard", suggests the storminess in this scene.Wittkower who subscribed to the view this was a reenactment of Virgil, was satisfied that this gesture was Neptune, with an "angry look towards the water", calming the waves with his trident. John Pope-Hennessy pointed out the defect that Bernini did not include the nereid if he was reenacting Virgil's passage, and suggested a quote from Ovid as basis; it was then counter-argued that this Ovid passage too was defective in failing to mention the trident explicitly. Collier pointed out it was peculiar that Neptune should wear a wrathful expression calming the sea, and suggested a different passage from Ovid where Neptune was in wrath, but this too was flawed as it did not mention Trident.Collier also remarked that if Virgil was the source, Neptune might not have been waving the trident at the sea, but rather using the instrument to dislodge the ships from the rocks, as stated in the poem.  But since Bernini's work failed to hint at any presence of ships, this proposition seemed untenable to him.As a side-note, it has also been noticed that ends of Neptune's drapery are made to look like a dolphin's head. It has been suggested this pays homage to the classical writing by Ovid, at a different passage that mentions the Neptune and dolphins (but not Triton), as well as to the general Ovidian theme of transformations in the Metamorphosis and other works. Barrow on the other hand perceived light-heartedness in the artistic touch here, which was "evocative of the spirit of Hellenistic Rococo".

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In the context of Neptune and Triton, explain the Triton and the Iconography.

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Triton about the Iconography of this artwork, Neptune and Triton.

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Triton of the Iconography explained?

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Describe the characteristics of the Triton in Neptune and Triton's Iconography.

Triton, Neptune's son, is positioned below Neptune's legs, thrusting himself forward to blow the conch shell.  He is noticeably younger, maybe a teenage boy, though also with defined musculature. He blows his shell as a horn to announce that the king of the earth and oceans is approaching. Triton grasps Neptune's leg and ducks his left shoulder between the thighs of Neptune.Bernini's Triton is double-tailed, simulating the two-legged human, both in this sculpture group and in his later work, the Triton Fountain in Rome.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Focus on Neptune and Triton and explain the Naturalism.

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: Explain the Naturalism of this artwork, Neptune and Triton.

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: How does Neptune and Triton explain its Naturalism?

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Neptune and Triton

Prompt: In Neptune and Triton, how is the Naturalism discussed?

The naturalism of the figures suggests the artist's intention to elicit an immediate emotional response to the viewer. Neptune's furrowed brow gives a sense of his fierce strength. His stance is set in stone, solidifying his divine power. In contrast, Triton looks somewhat submissive while he is grabbing Neptune's thigh. His face looks to be full of anxiety as if he knows that he should obey whatever Neptune commands him to do. His timid nature and Neptune's dominate presence display the reality of human emotion and brings back the point of Bernini's plan to convey myths coming to life.Bernini gave the audience the chance to "see" these gods in person; in movement. This was Bernini's first sculpture to " …work where the silhouette is broken, where the climax of a transitory action is given and where the action extends beyond the physical limits". The point of the sculpture is to bring the viewer to face a myth or story to be true and real by its dramatic tension in the body positions and subtle hints at natural life. He was making the myths, rumours and stories an opportunity to be true and demand its viewer to believe in its truth.

Category:Sculptures of Triton (mythology)

Category:Sculptures in the Victoria and Albert Museum

Charles Anderson-Pelham, 1st Baron Yarborough

Category:Sculptures by Gian Lorenzo Bernini

Category:Sculptures based on Metamorphoses

Category:Marble sculptures in the United Kingdom


Prompt: Focus on Agostina Segatori Sitting in the Café du Tambourin and explain the abstract.

Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Explain the abstract of this artwork, Agostina Segatori Sitting in the Café du Tambourin.

Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: How does Agostina Segatori Sitting in the Café du Tambourin explain its abstract?

Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: In Agostina Segatori Sitting in the Café du Tambourin, how is the abstract discussed?

Agostina Segatori Sitting in the Café du Tambourin was painted by Vincent van Gogh in 1887.  Agostina Segatori owned the Café du Tambourin that Van Gogh knew intimately.  It was a gathering spot for Parisian artists, a place where their work was exhibited. Van Gogh, unable to pay in cash for his meals, exchanged paintings for his fare.  The paintings then adorned the restaurant.  He held a special exhibit of his Japanese prints in the café as well.  His connection with Agostina and the cafe came to a sad end when she went bankrupt and van Gogh's paintings were confiscated by creditors.  This painting, however, demonstrates an artistic discovery that culminated in his unique, creative style not quite on the brink of being understood and revered.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Focus on Agostina Segatori Sitting in the Café du Tambourin and explain the Van Gogh's influence in Paris.

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Explain the Van Gogh's influence in Paris of this artwork, Agostina Segatori Sitting in the Café du Tambourin.

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: How does Agostina Segatori Sitting in the Café du Tambourin explain its Van Gogh's influence in Paris?

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: In Agostina Segatori Sitting in the Café du Tambourin, how is the Van Gogh's influence in Paris discussed?

In 1886 van Gogh left the Netherlands, never to return, for Paris and the guidance of his brother Theo.  He entered Paris as a shy, somber man and while his personality would never change, he emerged artistically into what one critic described as a "singing bird". While van Gogh had been influenced by great Dutch masters, coming to Paris meant that he was influenced by Impressionists, Symbolists, Pointillists, and Japanese prints.  His circle of friends included Camille Pissarro, Henri Toulouse-Lautrec, Paul Gauguin, Émile Bernard and others.  The works of Japanese artists Hiroshige and Hokusai greatly influenced van Gogh, both for the beautiful subject matter and the style of flat patterns of colors without shadow.  Van Gogh explored the various influences and molded them into a style that was uniquely his own.  In the years 1886 to 1888, van Gogh emerged as a sophisticated, thoughtful and provoking artist. This painting demonstrates his journey of creativity in that period.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Focus on Agostina Segatori Sitting in the Café du Tambourin and explain the The painting.

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants.  Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Explain the The painting of this artwork, Agostina Segatori Sitting in the Café du Tambourin.

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants.  Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: How does Agostina Segatori Sitting in the Café du Tambourin explain its The painting?

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants.  Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: In Agostina Segatori Sitting in the Café du Tambourin, how is the The painting discussed?

In the painting Agostina, a woman in her forties, can be seen smoking a cigarette while having her second glass of beer, evidenced by two saucers under the mug of beer.  In demeanor and style, such as her clothing, make-up and hairstyle, she is a modern woman. She is wearing a fashionable hat.  According to the style at the time, her jacket is a different design than her dress.  A parasol sits on one of the seats next to her.Van Gogh used the theme of a woman sitting at a small table, introduced by Impressionists, such as Edgar Degas and Édouard Manet. The table and stools were in the shape of tambourines, befitting the café's theme. On the wall behind her are van Gogh's Japanese prints, which he began exhibiting at the café in February 1887.The brightly colored painting and confident subject represent a shift in Van Gogh's attitude in comparison to his earlier subjects, such as his dark and tragic peasants.  Even more, van Gogh's Portrait of Père Tanguy from the fall of the same year further explores his use of color and better promotes his Japanese prints.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Focus on Agostina Segatori Sitting in the Café du Tambourin and explain the Café du Tambourin.

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: Explain the Café du Tambourin of this artwork, Agostina Segatori Sitting in the Café du Tambourin.

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: How does Agostina Segatori Sitting in the Café du Tambourin explain its Café du Tambourin?

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


Prompt: In Agostina Segatori Sitting in the Café du Tambourin, how is the Café du Tambourin discussed?

Van Gogh occasionally visited Café du Tambourin run by Agostina Segatori, the subject of this painting. Previously an artist's model to Manet, Corot and others, the Naples-born Agostina saved the money she earned working as a model and opened the Italian-themed Café du Tambourin in 1885, which particularly catered to artists.The café on the Boulevard de Clichy in Paris was just around the corner from the home that Vincent lived in with his brother Theo. Besides convenience, the restaurant was notable to Van Gogh as a venue for exhibition of his paintings, a practice initiated by artists such as Henri de Toulouse-Lautrec, Paul-Albert Besnard and others.In 1887 van Gogh had several meals a week at the café which were paid in paintings to adorn the restaurant's walls.  He fell in love with Agostina who was twelve years older. Soon after, though, Agostina and the establishment fell on hard times.  She became ill and the business, in debt and likely involved in illegal prostitution, failed.  Although assured by Agostina that van Gogh could claim his paintings, according to Émile Bernard's recollection, debtors sold them "as waste canvas" in batches of 10, ranging in price from 50 centimes to one franc per bundle. Due to the bankruptcy of the cafe van Gogh lost not only the paintings, mostly still life works of flowers, but also the frames.Agostina Segatori Sitting in the Café du Tambourin is on display at the Van Gogh Museum in Amsterdam, the Netherlands.

File:Van Gogh - Portrait of Pere Tanguy 1887-8.JPG

Still life paintings by Vincent van Gogh (Paris)

File:Vincent van Gogh in Paris Agostina Segatori.webm

Category:Paintings of Paris by Vincent van Gogh

Category:Articles containing video clips

Category:Collection of the Van Gogh Museum


A Conversation with Oscar Wilde

Prompt: Focus on A Conversation with Oscar Wilde and explain the abstract.

A Conversation with Oscar Wilde is an outdoor sculpture by Maggi Hambling in central London dedicated to Oscar Wilde. Unveiled in 1998, it takes the form of a bench-like green granite sarcophagus, with a bust of Wilde emerging from the upper end, with a hand clasping a cigarette.

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

File:A Conversation with Oscar Wilde - inscription.jpg

Category:Bronze sculptures in the City of Westminster

The inscription quoting from ''[[Lady Windermere's Fan

Category:Cultural depictions of Oscar Wilde

Category:Granite sculptures in the United Kingdom


A Conversation with Oscar Wilde

Prompt: Explain the abstract of this artwork, A Conversation with Oscar Wilde.

A Conversation with Oscar Wilde is an outdoor sculpture by Maggi Hambling in central London dedicated to Oscar Wilde. Unveiled in 1998, it takes the form of a bench-like green granite sarcophagus, with a bust of Wilde emerging from the upper end, with a hand clasping a cigarette.

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

File:A Conversation with Oscar Wilde - inscription.jpg

Category:Bronze sculptures in the City of Westminster

The inscription quoting from ''[[Lady Windermere's Fan

Category:Cultural depictions of Oscar Wilde

Category:Granite sculptures in the United Kingdom


A Conversation with Oscar Wilde

Prompt: How does A Conversation with Oscar Wilde explain its abstract?

A Conversation with Oscar Wilde is an outdoor sculpture by Maggi Hambling in central London dedicated to Oscar Wilde. Unveiled in 1998, it takes the form of a bench-like green granite sarcophagus, with a bust of Wilde emerging from the upper end, with a hand clasping a cigarette.

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

File:A Conversation with Oscar Wilde - inscription.jpg

Category:Bronze sculptures in the City of Westminster

The inscription quoting from ''[[Lady Windermere's Fan

Category:Cultural depictions of Oscar Wilde

Category:Granite sculptures in the United Kingdom


A Conversation with Oscar Wilde

Prompt: In A Conversation with Oscar Wilde, how is the abstract discussed?

A Conversation with Oscar Wilde is an outdoor sculpture by Maggi Hambling in central London dedicated to Oscar Wilde. Unveiled in 1998, it takes the form of a bench-like green granite sarcophagus, with a bust of Wilde emerging from the upper end, with a hand clasping a cigarette.

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

File:A Conversation with Oscar Wilde - inscription.jpg

Category:Bronze sculptures in the City of Westminster

The inscription quoting from ''[[Lady Windermere's Fan

Category:Cultural depictions of Oscar Wilde

Category:Granite sculptures in the United Kingdom


A Conversation with Oscar Wilde

Prompt: Focus on A Conversation with Oscar Wilde and explain the Creation and unveiling.

The memorial was first suggested during the 1980s and early 1990s by fans of Wilde's work, including Derek Jarman. Following Jarman's death in 1994, a committee called "A Statue for Oscar Wilde" was formed to bring a tribute to fruition. The committee, led by Jeremy Isaacs, included the actors Dame Judi Dench and Sir Ian McKellen, and the poet Seamus Heaney.From sketches submitted by twelve artists, six were chosen to create maquette models of their concepts. Maggi Hambling's "witty and amusing" work was chosen for the memorial. The work is inscribed with a quotation from his play Lady Windermere's Fan: "We are all in the gutter, but some of us are looking at the stars". Hundreds of individual donors and foundations contributed funds for the project.The statue is located in central London between Trafalgar Square and Charing Cross Station, behind St Martin's in the Fields church. The unveiling was on 30 November 1998. It was preceded in 1997 by an exhibition at the nearby National Portrait Gallery, bringing together drawings, models and maquettes. The London sculpture was just pipped to the post by the Dublin triptych Oscar Wilde Memorial Sculpture, designed and made by Danny Osborne and unveiled in Wilde's birthplace, Merrion Square, in 1997.

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

File:A Conversation with Oscar Wilde - inscription.jpg

Category:Bronze sculptures in the City of Westminster

The inscription quoting from ''[[Lady Windermere's Fan

Category:Cultural depictions of Oscar Wilde

Category:Granite sculptures in the United Kingdom


A Conversation with Oscar Wilde

Prompt: Explain the Creation and unveiling of this artwork, A Conversation with Oscar Wilde.

The memorial was first suggested during the 1980s and early 1990s by fans of Wilde's work, including Derek Jarman. Following Jarman's death in 1994, a committee called "A Statue for Oscar Wilde" was formed to bring a tribute to fruition. The committee, led by Jeremy Isaacs, included the actors Dame Judi Dench and Sir Ian McKellen, and the poet Seamus Heaney.From sketches submitted by twelve artists, six were chosen to create maquette models of their concepts. Maggi Hambling's "witty and amusing" work was chosen for the memorial. The work is inscribed with a quotation from his play Lady Windermere's Fan: "We are all in the gutter, but some of us are looking at the stars". Hundreds of individual donors and foundations contributed funds for the project.The statue is located in central London between Trafalgar Square and Charing Cross Station, behind St Martin's in the Fields church. The unveiling was on 30 November 1998. It was preceded in 1997 by an exhibition at the nearby National Portrait Gallery, bringing together drawings, models and maquettes. The London sculpture was just pipped to the post by the Dublin triptych Oscar Wilde Memorial Sculpture, designed and made by Danny Osborne and unveiled in Wilde's birthplace, Merrion Square, in 1997.

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

File:A Conversation with Oscar Wilde - inscription.jpg

Category:Bronze sculptures in the City of Westminster

The inscription quoting from ''[[Lady Windermere's Fan

Category:Cultural depictions of Oscar Wilde

Category:Granite sculptures in the United Kingdom


A Conversation with Oscar Wilde

Prompt: How does A Conversation with Oscar Wilde explain its Creation and unveiling?

The memorial was first suggested during the 1980s and early 1990s by fans of Wilde's work, including Derek Jarman. Following Jarman's death in 1994, a committee called "A Statue for Oscar Wilde" was formed to bring a tribute to fruition. The committee, led by Jeremy Isaacs, included the actors Dame Judi Dench and Sir Ian McKellen, and the poet Seamus Heaney.From sketches submitted by twelve artists, six were chosen to create maquette models of their concepts. Maggi Hambling's "witty and amusing" work was chosen for the memorial. The work is inscribed with a quotation from his play Lady Windermere's Fan: "We are all in the gutter, but some of us are looking at the stars". Hundreds of individual donors and foundations contributed funds for the project.The statue is located in central London between Trafalgar Square and Charing Cross Station, behind St Martin's in the Fields church. The unveiling was on 30 November 1998. It was preceded in 1997 by an exhibition at the nearby National Portrait Gallery, bringing together drawings, models and maquettes. The London sculpture was just pipped to the post by the Dublin triptych Oscar Wilde Memorial Sculpture, designed and made by Danny Osborne and unveiled in Wilde's birthplace, Merrion Square, in 1997.

Category:Monuments and memorials in London

Category:Sculptures of men in the United Kingdom

File:A Conversation with Oscar Wilde - inscription.jpg

Category:Bronze sculptures in the City of Westminster

The inscription quoting from ''[[Lady Windermere's Fan

Category:Cultural depictions of Oscar Wilde

Category:Granite sculptures in the United Kingdom