Rhythm of Structure

Prompt: Focus on Rhythm of Structure and explain the Reviews.

There have been a number of reviews for Rhythm of Structure:A paper covering the Knotting Mathematics and Art: Conference in Low Dimensional Topology and Mathematical Art at University of South Florida in November 2007 appeared in the Journal of Mathematics and Arts.At the Bowery Poetry Club show, Sol LeWitt and Adrian Piper's exhibition with featured response by Mark Strand was review in Art in America by John Reed in March 2010.The Cartesian MathArt Hive piece featured in the Rhythm of Structure: Mathematics, Art and Poetic Reflection (2009–10) exhibition was covered by a journal paper, April 2010, in the Journal of Mathematics and Arts.Gregory Vincent St. Thomasino featured an element of the Mathematics, Art and Poetic Reflection poetry presentation his blog in April 2010.Sarasota Herald Tribune writer Marty Fugate previewed the Ringling College of Art and Design exhibition at Selby Gallery and Rhythm of Structure film which screened at the Sarasota Film Festival in April 2012.The Antioch College showing of Rhythm of Structure was covered in April 2012 by the Jane A. Black for the Dayton City Paper.SQR Magazine reviewed The Square Root of Love, featured in the Rhythm of Structure: Mathematics, Art and Poetic Reflection (2009–10) exhibition,  at the Bowery Poetry Club in April 2012.

The Proper Way to Hang a Confederate Flag

Category:Art exhibitions in the United States

New York University Tisch School of the Arts

File:Rhythm of Structure Mathematics, Art and Poetic Reflection Bowery and Beyond catalog cover illustration graphic, Antioch College Herndon Gallery, 2011.jpg

Brooklyn Academy of Science and the Environment


Rhythm of Structure

Prompt: Explain the Reviews of this artwork, Rhythm of Structure.

There have been a number of reviews for Rhythm of Structure:A paper covering the Knotting Mathematics and Art: Conference in Low Dimensional Topology and Mathematical Art at University of South Florida in November 2007 appeared in the Journal of Mathematics and Arts.At the Bowery Poetry Club show, Sol LeWitt and Adrian Piper's exhibition with featured response by Mark Strand was review in Art in America by John Reed in March 2010.The Cartesian MathArt Hive piece featured in the Rhythm of Structure: Mathematics, Art and Poetic Reflection (2009–10) exhibition was covered by a journal paper, April 2010, in the Journal of Mathematics and Arts.Gregory Vincent St. Thomasino featured an element of the Mathematics, Art and Poetic Reflection poetry presentation his blog in April 2010.Sarasota Herald Tribune writer Marty Fugate previewed the Ringling College of Art and Design exhibition at Selby Gallery and Rhythm of Structure film which screened at the Sarasota Film Festival in April 2012.The Antioch College showing of Rhythm of Structure was covered in April 2012 by the Jane A. Black for the Dayton City Paper.SQR Magazine reviewed The Square Root of Love, featured in the Rhythm of Structure: Mathematics, Art and Poetic Reflection (2009–10) exhibition,  at the Bowery Poetry Club in April 2012.

The Proper Way to Hang a Confederate Flag

Category:Art exhibitions in the United States

New York University Tisch School of the Arts

File:Rhythm of Structure Mathematics, Art and Poetic Reflection Bowery and Beyond catalog cover illustration graphic, Antioch College Herndon Gallery, 2011.jpg

Brooklyn Academy of Science and the Environment


Rhythm of Structure

Prompt: How does Rhythm of Structure explain its Reviews?

There have been a number of reviews for Rhythm of Structure:A paper covering the Knotting Mathematics and Art: Conference in Low Dimensional Topology and Mathematical Art at University of South Florida in November 2007 appeared in the Journal of Mathematics and Arts.At the Bowery Poetry Club show, Sol LeWitt and Adrian Piper's exhibition with featured response by Mark Strand was review in Art in America by John Reed in March 2010.The Cartesian MathArt Hive piece featured in the Rhythm of Structure: Mathematics, Art and Poetic Reflection (2009–10) exhibition was covered by a journal paper, April 2010, in the Journal of Mathematics and Arts.Gregory Vincent St. Thomasino featured an element of the Mathematics, Art and Poetic Reflection poetry presentation his blog in April 2010.Sarasota Herald Tribune writer Marty Fugate previewed the Ringling College of Art and Design exhibition at Selby Gallery and Rhythm of Structure film which screened at the Sarasota Film Festival in April 2012.The Antioch College showing of Rhythm of Structure was covered in April 2012 by the Jane A. Black for the Dayton City Paper.SQR Magazine reviewed The Square Root of Love, featured in the Rhythm of Structure: Mathematics, Art and Poetic Reflection (2009–10) exhibition,  at the Bowery Poetry Club in April 2012.

The Proper Way to Hang a Confederate Flag

Category:Art exhibitions in the United States

New York University Tisch School of the Arts

File:Rhythm of Structure Mathematics, Art and Poetic Reflection Bowery and Beyond catalog cover illustration graphic, Antioch College Herndon Gallery, 2011.jpg

Brooklyn Academy of Science and the Environment


Rhythm of Structure

Prompt: In Rhythm of Structure, how is the Reviews discussed?

There have been a number of reviews for Rhythm of Structure:A paper covering the Knotting Mathematics and Art: Conference in Low Dimensional Topology and Mathematical Art at University of South Florida in November 2007 appeared in the Journal of Mathematics and Arts.At the Bowery Poetry Club show, Sol LeWitt and Adrian Piper's exhibition with featured response by Mark Strand was review in Art in America by John Reed in March 2010.The Cartesian MathArt Hive piece featured in the Rhythm of Structure: Mathematics, Art and Poetic Reflection (2009–10) exhibition was covered by a journal paper, April 2010, in the Journal of Mathematics and Arts.Gregory Vincent St. Thomasino featured an element of the Mathematics, Art and Poetic Reflection poetry presentation his blog in April 2010.Sarasota Herald Tribune writer Marty Fugate previewed the Ringling College of Art and Design exhibition at Selby Gallery and Rhythm of Structure film which screened at the Sarasota Film Festival in April 2012.The Antioch College showing of Rhythm of Structure was covered in April 2012 by the Jane A. Black for the Dayton City Paper.SQR Magazine reviewed The Square Root of Love, featured in the Rhythm of Structure: Mathematics, Art and Poetic Reflection (2009–10) exhibition,  at the Bowery Poetry Club in April 2012.

The Proper Way to Hang a Confederate Flag

Category:Art exhibitions in the United States

New York University Tisch School of the Arts

File:Rhythm of Structure Mathematics, Art and Poetic Reflection Bowery and Beyond catalog cover illustration graphic, Antioch College Herndon Gallery, 2011.jpg

Brooklyn Academy of Science and the Environment


Statue of Charles James Fox

Prompt: Focus on Statue of Charles James Fox and explain the abstract.

The statue of Charles James Fox stands at the north end of Bloomsbury Square in the London borough of Camden. Erected in 1816, the sculptor was Richard Westmacott. It commemorates the Whig politician who died in 1806. Fox is shown in the garb of a Roman senator.  The statue is a Grade II* listed structure.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

International Day for the Remembrance of the Slave Trade and its Abolition

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: Explain the abstract of this artwork, Statue of Charles James Fox.

The statue of Charles James Fox stands at the north end of Bloomsbury Square in the London borough of Camden. Erected in 1816, the sculptor was Richard Westmacott. It commemorates the Whig politician who died in 1806. Fox is shown in the garb of a Roman senator.  The statue is a Grade II* listed structure.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

International Day for the Remembrance of the Slave Trade and its Abolition

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: How does Statue of Charles James Fox explain its abstract?

The statue of Charles James Fox stands at the north end of Bloomsbury Square in the London borough of Camden. Erected in 1816, the sculptor was Richard Westmacott. It commemorates the Whig politician who died in 1806. Fox is shown in the garb of a Roman senator.  The statue is a Grade II* listed structure.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

International Day for the Remembrance of the Slave Trade and its Abolition

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: In Statue of Charles James Fox, how is the abstract discussed?

The statue of Charles James Fox stands at the north end of Bloomsbury Square in the London borough of Camden. Erected in 1816, the sculptor was Richard Westmacott. It commemorates the Whig politician who died in 1806. Fox is shown in the garb of a Roman senator.  The statue is a Grade II* listed structure.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

International Day for the Remembrance of the Slave Trade and its Abolition

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: Focus on Statue of Charles James Fox and explain the History.

Charles James Fox (24 January 1749 – 13 September 1806), enjoyed a political career of nearly forty years. Rarely holding office, he championed a range of liberal causes, including American independence, the French Revolution, Catholic Emancipation and the abolition of slavery. Personally dissolute, with weaknesses for women, gambling and alcohol, he died, heavily in debt, at the age of 57. His career has been described as of "almost unrelieved failure" but his generosity of mind, his famed charm and his "genius for friendship" left his many friends and admirers desolate at his death. As well as paying for his funeral, clearing his debts, and funding a pension for his widow, they raised the considerable sum of £12,450 for a memorial. The sum was sufficient to allow for two, a statue in Westminster Abbey, and that located in Bloomsbury Square. The site was given by John Russell, 6th Duke of Bedford, son of Fox's great friend, the 5th Duke. The sculptor was Richard Westmacott and the statue was completed in 1814 and raised in 1816.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

International Day for the Remembrance of the Slave Trade and its Abolition

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: Explain the History of this artwork, Statue of Charles James Fox.

Charles James Fox (24 January 1749 – 13 September 1806), enjoyed a political career of nearly forty years. Rarely holding office, he championed a range of liberal causes, including American independence, the French Revolution, Catholic Emancipation and the abolition of slavery. Personally dissolute, with weaknesses for women, gambling and alcohol, he died, heavily in debt, at the age of 57. His career has been described as of "almost unrelieved failure" but his generosity of mind, his famed charm and his "genius for friendship" left his many friends and admirers desolate at his death. As well as paying for his funeral, clearing his debts, and funding a pension for his widow, they raised the considerable sum of £12,450 for a memorial. The sum was sufficient to allow for two, a statue in Westminster Abbey, and that located in Bloomsbury Square. The site was given by John Russell, 6th Duke of Bedford, son of Fox's great friend, the 5th Duke. The sculptor was Richard Westmacott and the statue was completed in 1814 and raised in 1816.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

International Day for the Remembrance of the Slave Trade and its Abolition

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: How does Statue of Charles James Fox explain its History?

Charles James Fox (24 January 1749 – 13 September 1806), enjoyed a political career of nearly forty years. Rarely holding office, he championed a range of liberal causes, including American independence, the French Revolution, Catholic Emancipation and the abolition of slavery. Personally dissolute, with weaknesses for women, gambling and alcohol, he died, heavily in debt, at the age of 57. His career has been described as of "almost unrelieved failure" but his generosity of mind, his famed charm and his "genius for friendship" left his many friends and admirers desolate at his death. As well as paying for his funeral, clearing his debts, and funding a pension for his widow, they raised the considerable sum of £12,450 for a memorial. The sum was sufficient to allow for two, a statue in Westminster Abbey, and that located in Bloomsbury Square. The site was given by John Russell, 6th Duke of Bedford, son of Fox's great friend, the 5th Duke. The sculptor was Richard Westmacott and the statue was completed in 1814 and raised in 1816.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

International Day for the Remembrance of the Slave Trade and its Abolition

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: In Statue of Charles James Fox, how is the History discussed?

Charles James Fox (24 January 1749 – 13 September 1806), enjoyed a political career of nearly forty years. Rarely holding office, he championed a range of liberal causes, including American independence, the French Revolution, Catholic Emancipation and the abolition of slavery. Personally dissolute, with weaknesses for women, gambling and alcohol, he died, heavily in debt, at the age of 57. His career has been described as of "almost unrelieved failure" but his generosity of mind, his famed charm and his "genius for friendship" left his many friends and admirers desolate at his death. As well as paying for his funeral, clearing his debts, and funding a pension for his widow, they raised the considerable sum of £12,450 for a memorial. The sum was sufficient to allow for two, a statue in Westminster Abbey, and that located in Bloomsbury Square. The site was given by John Russell, 6th Duke of Bedford, son of Fox's great friend, the 5th Duke. The sculptor was Richard Westmacott and the statue was completed in 1814 and raised in 1816.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

International Day for the Remembrance of the Slave Trade and its Abolition

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: Focus on Statue of Charles James Fox and explain the Description.

The statue is of bronze and shows Fox in the robes of a Roman senator. He is seated, reputedly as his friends considered that a realistic portrayal of a standing Fox would have appeared undignified, due to his corpulence. Fox holds a copy of Magna Carta, symbolising his commitment to liberty. The statue stands on a granite plinth which is carved with Fox's full name and the date of the statue's erection. The plinth itself is raised on a four-staged pedestal base. The statue is 2.74 metres (9.0 ft) high and the plinth it stands on is 2.43 metres (8.0 ft).The statue was designated a Grade II listed structure in 1951. It was promoted to a Grade II* listing on 23 August 2008, UNESCO's International Day for the Remembrance of the Slave Trade and its Abolition, though the statue does not explicitly reference Fox's championing of the abolitionist cause.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: Explain the Description of this artwork, Statue of Charles James Fox.

The statue is of bronze and shows Fox in the robes of a Roman senator. He is seated, reputedly as his friends considered that a realistic portrayal of a standing Fox would have appeared undignified, due to his corpulence. Fox holds a copy of Magna Carta, symbolising his commitment to liberty. The statue stands on a granite plinth which is carved with Fox's full name and the date of the statue's erection. The plinth itself is raised on a four-staged pedestal base. The statue is 2.74 metres (9.0 ft) high and the plinth it stands on is 2.43 metres (8.0 ft).The statue was designated a Grade II listed structure in 1951. It was promoted to a Grade II* listing on 23 August 2008, UNESCO's International Day for the Remembrance of the Slave Trade and its Abolition, though the statue does not explicitly reference Fox's championing of the abolitionist cause.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: How does Statue of Charles James Fox explain its Description?

The statue is of bronze and shows Fox in the robes of a Roman senator. He is seated, reputedly as his friends considered that a realistic portrayal of a standing Fox would have appeared undignified, due to his corpulence. Fox holds a copy of Magna Carta, symbolising his commitment to liberty. The statue stands on a granite plinth which is carved with Fox's full name and the date of the statue's erection. The plinth itself is raised on a four-staged pedestal base. The statue is 2.74 metres (9.0 ft) high and the plinth it stands on is 2.43 metres (8.0 ft).The statue was designated a Grade II listed structure in 1951. It was promoted to a Grade II* listing on 23 August 2008, UNESCO's International Day for the Remembrance of the Slave Trade and its Abolition, though the statue does not explicitly reference Fox's championing of the abolitionist cause.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


Statue of Charles James Fox

Prompt: In Statue of Charles James Fox, how is the Description discussed?

The statue is of bronze and shows Fox in the robes of a Roman senator. He is seated, reputedly as his friends considered that a realistic portrayal of a standing Fox would have appeared undignified, due to his corpulence. Fox holds a copy of Magna Carta, symbolising his commitment to liberty. The statue stands on a granite plinth which is carved with Fox's full name and the date of the statue's erection. The plinth itself is raised on a four-staged pedestal base. The statue is 2.74 metres (9.0 ft) high and the plinth it stands on is 2.43 metres (8.0 ft).The statue was designated a Grade II listed structure in 1951. It was promoted to a Grade II* listing on 23 August 2008, UNESCO's International Day for the Remembrance of the Slave Trade and its Abolition, though the statue does not explicitly reference Fox's championing of the abolitionist cause.

Category:Cultural depictions of politicians

Category:Cultural depictions of British people

Category:Monuments and memorials in London

Category:Grade II* listed statues in London

Category:Sculptures by Richard Westmacott

Category:Buildings and structures completed in 1814

Category:Grade II* listed buildings in the London Borough of Camden


The Birth of the Milky Way

Prompt: Focus on The Birth of the Milky Way and explain the abstract.

The Birth of the Milky Way, also sometimes known as The Origin of the Milky Way, is an oil-on-canvas painting by the Flemish artist Peter Paul Rubens, produced between 1636 and 1638 and featuring the Greco-Roman myth of the origin of the Milky Way. The painting depicts Hera (Juno), spilling her breast milk, the infant Heracles (Hercules) and Zeus (Jupiter) in the background, identifiable by his eagle and lightning bolts. Hera's face is modelled on Rubens' wife, Hélène Fourment. The carriage is pulled by peacocks, a bird which the ancient Greeks and Romans considered sacred to both themselves and to Hera/Juno, as a result of their ability to signal changes in weather through cries and hence their perceived connection to the gods.With a width of 244 cm (96 in) and height of 181 cm (71 in), the image was a part of the commission from Philip IV of Spain to decorate Torre de la Parada. It is now held at the Museo del Prado, in Madrid.

The Origin of the Milky Way (Tintoretto)

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Jupiter (mythology)

''The Origin of the Milky Way'' (Tintoretto)

Category:Mythological paintings by Peter Paul Rubens


The Birth of the Milky Way

Prompt: Explain the abstract of this artwork, The Birth of the Milky Way.

The Birth of the Milky Way, also sometimes known as The Origin of the Milky Way, is an oil-on-canvas painting by the Flemish artist Peter Paul Rubens, produced between 1636 and 1638 and featuring the Greco-Roman myth of the origin of the Milky Way. The painting depicts Hera (Juno), spilling her breast milk, the infant Heracles (Hercules) and Zeus (Jupiter) in the background, identifiable by his eagle and lightning bolts. Hera's face is modelled on Rubens' wife, Hélène Fourment. The carriage is pulled by peacocks, a bird which the ancient Greeks and Romans considered sacred to both themselves and to Hera/Juno, as a result of their ability to signal changes in weather through cries and hence their perceived connection to the gods.With a width of 244 cm (96 in) and height of 181 cm (71 in), the image was a part of the commission from Philip IV of Spain to decorate Torre de la Parada. It is now held at the Museo del Prado, in Madrid.

The Origin of the Milky Way (Tintoretto)

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Jupiter (mythology)

''The Origin of the Milky Way'' (Tintoretto)

Category:Mythological paintings by Peter Paul Rubens


The Birth of the Milky Way

Prompt: How does The Birth of the Milky Way explain its abstract?

The Birth of the Milky Way, also sometimes known as The Origin of the Milky Way, is an oil-on-canvas painting by the Flemish artist Peter Paul Rubens, produced between 1636 and 1638 and featuring the Greco-Roman myth of the origin of the Milky Way. The painting depicts Hera (Juno), spilling her breast milk, the infant Heracles (Hercules) and Zeus (Jupiter) in the background, identifiable by his eagle and lightning bolts. Hera's face is modelled on Rubens' wife, Hélène Fourment. The carriage is pulled by peacocks, a bird which the ancient Greeks and Romans considered sacred to both themselves and to Hera/Juno, as a result of their ability to signal changes in weather through cries and hence their perceived connection to the gods.With a width of 244 cm (96 in) and height of 181 cm (71 in), the image was a part of the commission from Philip IV of Spain to decorate Torre de la Parada. It is now held at the Museo del Prado, in Madrid.

The Origin of the Milky Way (Tintoretto)

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Jupiter (mythology)

''The Origin of the Milky Way'' (Tintoretto)

Category:Mythological paintings by Peter Paul Rubens


The Birth of the Milky Way

Prompt: In The Birth of the Milky Way, how is the abstract discussed?

The Birth of the Milky Way, also sometimes known as The Origin of the Milky Way, is an oil-on-canvas painting by the Flemish artist Peter Paul Rubens, produced between 1636 and 1638 and featuring the Greco-Roman myth of the origin of the Milky Way. The painting depicts Hera (Juno), spilling her breast milk, the infant Heracles (Hercules) and Zeus (Jupiter) in the background, identifiable by his eagle and lightning bolts. Hera's face is modelled on Rubens' wife, Hélène Fourment. The carriage is pulled by peacocks, a bird which the ancient Greeks and Romans considered sacred to both themselves and to Hera/Juno, as a result of their ability to signal changes in weather through cries and hence their perceived connection to the gods.With a width of 244 cm (96 in) and height of 181 cm (71 in), the image was a part of the commission from Philip IV of Spain to decorate Torre de la Parada. It is now held at the Museo del Prado, in Madrid.

The Origin of the Milky Way (Tintoretto)

Category:Paintings by Peter Paul Rubens in the Museo del Prado

Category:Paintings of Jupiter (mythology)

''The Origin of the Milky Way'' (Tintoretto)

Category:Mythological paintings by Peter Paul Rubens


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the abstract.

Georgia O'Keeffe made a number of Red Canna paintings of the canna lily plant, first in watercolor, such as a red canna flower bouquet painted in 1915, but primarily abstract paintings of close-up images in oil. O'Keeffe said that she made the paintings to reflect the way she herself saw flowers, although others have called her depictions erotic, and compared them to female genitalia. O'Keeffe said they had misconstrued her intentions for doing her flower paintings: "Well – I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower – and I don't."O'Keeffe was aware of the sexual implications in her work, but male art reviewers' misinterpretations of these references reinforced a sexual perception of her work that was diametrically opposed to her original goal. She expressed herself through the use of vibrant colors like red, yellow, and orange.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the abstract of this artwork, Red Canna (paintings).

Georgia O'Keeffe made a number of Red Canna paintings of the canna lily plant, first in watercolor, such as a red canna flower bouquet painted in 1915, but primarily abstract paintings of close-up images in oil. O'Keeffe said that she made the paintings to reflect the way she herself saw flowers, although others have called her depictions erotic, and compared them to female genitalia. O'Keeffe said they had misconstrued her intentions for doing her flower paintings: "Well – I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower – and I don't."O'Keeffe was aware of the sexual implications in her work, but male art reviewers' misinterpretations of these references reinforced a sexual perception of her work that was diametrically opposed to her original goal. She expressed herself through the use of vibrant colors like red, yellow, and orange.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its abstract?

Georgia O'Keeffe made a number of Red Canna paintings of the canna lily plant, first in watercolor, such as a red canna flower bouquet painted in 1915, but primarily abstract paintings of close-up images in oil. O'Keeffe said that she made the paintings to reflect the way she herself saw flowers, although others have called her depictions erotic, and compared them to female genitalia. O'Keeffe said they had misconstrued her intentions for doing her flower paintings: "Well – I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower – and I don't."O'Keeffe was aware of the sexual implications in her work, but male art reviewers' misinterpretations of these references reinforced a sexual perception of her work that was diametrically opposed to her original goal. She expressed herself through the use of vibrant colors like red, yellow, and orange.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the abstract discussed?

Georgia O'Keeffe made a number of Red Canna paintings of the canna lily plant, first in watercolor, such as a red canna flower bouquet painted in 1915, but primarily abstract paintings of close-up images in oil. O'Keeffe said that she made the paintings to reflect the way she herself saw flowers, although others have called her depictions erotic, and compared them to female genitalia. O'Keeffe said they had misconstrued her intentions for doing her flower paintings: "Well – I made you take time to look at what I saw and when you took time to really notice my flower you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower – and I don't."O'Keeffe was aware of the sexual implications in her work, but male art reviewers' misinterpretations of these references reinforced a sexual perception of her work that was diametrically opposed to her original goal. She expressed herself through the use of vibrant colors like red, yellow, and orange.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Background.

A gardener, O'Keeffe was often inspired to make a dozen or more paintings of a specific flower. She became interested in brilliant colors and billowy petals of the canna lilies when she visited Lake George, New York in 1918 with Alfred Stieglitz. The Pennsylvania Academy of the Fine Arts states that "In these extreme close-ups she established a new kind of modern still life with no references to atmospheric effects or realistic details, reflecting her statement, 'I paint because color is significant.'"As she evolved as an artist, her works became suggestive of female form, like Inside Red Canna. Paul Rosenfeld, who owned one of her Red Canna paintings, said "... there is no stroke laid by her brush, whatever it is she may paint, that is not curiously, arrestingly female in quality. Essence of very womanhood permeates her pictures."

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Background of this artwork, Red Canna (paintings).

A gardener, O'Keeffe was often inspired to make a dozen or more paintings of a specific flower. She became interested in brilliant colors and billowy petals of the canna lilies when she visited Lake George, New York in 1918 with Alfred Stieglitz. The Pennsylvania Academy of the Fine Arts states that "In these extreme close-ups she established a new kind of modern still life with no references to atmospheric effects or realistic details, reflecting her statement, 'I paint because color is significant.'"As she evolved as an artist, her works became suggestive of female form, like Inside Red Canna. Paul Rosenfeld, who owned one of her Red Canna paintings, said "... there is no stroke laid by her brush, whatever it is she may paint, that is not curiously, arrestingly female in quality. Essence of very womanhood permeates her pictures."

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Background?

A gardener, O'Keeffe was often inspired to make a dozen or more paintings of a specific flower. She became interested in brilliant colors and billowy petals of the canna lilies when she visited Lake George, New York in 1918 with Alfred Stieglitz. The Pennsylvania Academy of the Fine Arts states that "In these extreme close-ups she established a new kind of modern still life with no references to atmospheric effects or realistic details, reflecting her statement, 'I paint because color is significant.'"As she evolved as an artist, her works became suggestive of female form, like Inside Red Canna. Paul Rosenfeld, who owned one of her Red Canna paintings, said "... there is no stroke laid by her brush, whatever it is she may paint, that is not curiously, arrestingly female in quality. Essence of very womanhood permeates her pictures."

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Background discussed?

A gardener, O'Keeffe was often inspired to make a dozen or more paintings of a specific flower. She became interested in brilliant colors and billowy petals of the canna lilies when she visited Lake George, New York in 1918 with Alfred Stieglitz. The Pennsylvania Academy of the Fine Arts states that "In these extreme close-ups she established a new kind of modern still life with no references to atmospheric effects or realistic details, reflecting her statement, 'I paint because color is significant.'"As she evolved as an artist, her works became suggestive of female form, like Inside Red Canna. Paul Rosenfeld, who owned one of her Red Canna paintings, said "... there is no stroke laid by her brush, whatever it is she may paint, that is not curiously, arrestingly female in quality. Essence of very womanhood permeates her pictures."

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Red Canna (1915) watercolor.

In 1915, O'Keeffe painted a watercolor of a bouquet of red canna blossoms on paper. The work, 19+3⁄8 by 13 inches (49.2 cm × 33.0 cm), is among the collection of the Yale University Art Gallery.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Red Canna (1915) watercolor of this artwork, Red Canna (paintings).

In 1915, O'Keeffe painted a watercolor of a bouquet of red canna blossoms on paper. The work, 19+3⁄8 by 13 inches (49.2 cm × 33.0 cm), is among the collection of the Yale University Art Gallery.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Red Canna (1915) watercolor?

In 1915, O'Keeffe painted a watercolor of a bouquet of red canna blossoms on paper. The work, 19+3⁄8 by 13 inches (49.2 cm × 33.0 cm), is among the collection of the Yale University Art Gallery.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Red Canna (1915) watercolor discussed?

In 1915, O'Keeffe painted a watercolor of a bouquet of red canna blossoms on paper. The work, 19+3⁄8 by 13 inches (49.2 cm × 33.0 cm), is among the collection of the Yale University Art Gallery.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Small Red Canna (1919).

A small painting of a close-up of a  red canna lily was made by O'Keeffe in 1919. The 8 in × 6 in (20.3 cm × 15.2 cm) oil painting depicts the flower against a dark cloudy background. Owned by a private collector, it is on extended loan to the Georgia O'Keeffe Museum. It was stolen from the Santa Fe, New Mexico museum by a security guard, William Crumpton, who pleaded guilty on October 26, 2004 to stealing paintings and cash from the museum and a government office. The painting, valued at equivalent to $806,554 in 2023, was recovered.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Small Red Canna (1919) of this artwork, Red Canna (paintings).

A small painting of a close-up of a  red canna lily was made by O'Keeffe in 1919. The 8 in × 6 in (20.3 cm × 15.2 cm) oil painting depicts the flower against a dark cloudy background. Owned by a private collector, it is on extended loan to the Georgia O'Keeffe Museum. It was stolen from the Santa Fe, New Mexico museum by a security guard, William Crumpton, who pleaded guilty on October 26, 2004 to stealing paintings and cash from the museum and a government office. The painting, valued at equivalent to $806,554 in 2023, was recovered.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Small Red Canna (1919)?

A small painting of a close-up of a  red canna lily was made by O'Keeffe in 1919. The 8 in × 6 in (20.3 cm × 15.2 cm) oil painting depicts the flower against a dark cloudy background. Owned by a private collector, it is on extended loan to the Georgia O'Keeffe Museum. It was stolen from the Santa Fe, New Mexico museum by a security guard, William Crumpton, who pleaded guilty on October 26, 2004 to stealing paintings and cash from the museum and a government office. The painting, valued at equivalent to $806,554 in 2023, was recovered.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Small Red Canna (1919) discussed?

A small painting of a close-up of a  red canna lily was made by O'Keeffe in 1919. The 8 in × 6 in (20.3 cm × 15.2 cm) oil painting depicts the flower against a dark cloudy background. Owned by a private collector, it is on extended loan to the Georgia O'Keeffe Museum. It was stolen from the Santa Fe, New Mexico museum by a security guard, William Crumpton, who pleaded guilty on October 26, 2004 to stealing paintings and cash from the museum and a government office. The painting, valued at equivalent to $806,554 in 2023, was recovered.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Red Canna (1919).

Painted in oil on a 13 in × 9+1⁄2 in (33.0 cm × 24.1 cm) board, the red canna lily framed by green and dark yellow background colors at the top and right of the painting and dark blue at the bottom and left. The carefully blended colors and voluptuous curves reflect her emerging personal style. Once owned by Pollitzer family members of North Carolina, it was displayed at  Columbia College in South Carolina, where O'Keeffe was an instructor. The painting was acquired by High Museum of Art of Atlanta by 2015.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Red Canna (1919) of this artwork, Red Canna (paintings).

Painted in oil on a 13 in × 9+1⁄2 in (33.0 cm × 24.1 cm) board, the red canna lily framed by green and dark yellow background colors at the top and right of the painting and dark blue at the bottom and left. The carefully blended colors and voluptuous curves reflect her emerging personal style. Once owned by Pollitzer family members of North Carolina, it was displayed at  Columbia College in South Carolina, where O'Keeffe was an instructor. The painting was acquired by High Museum of Art of Atlanta by 2015.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Red Canna (1919)?

Painted in oil on a 13 in × 9+1⁄2 in (33.0 cm × 24.1 cm) board, the red canna lily framed by green and dark yellow background colors at the top and right of the painting and dark blue at the bottom and left. The carefully blended colors and voluptuous curves reflect her emerging personal style. Once owned by Pollitzer family members of North Carolina, it was displayed at  Columbia College in South Carolina, where O'Keeffe was an instructor. The painting was acquired by High Museum of Art of Atlanta by 2015.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Red Canna (1919) discussed?

Painted in oil on a 13 in × 9+1⁄2 in (33.0 cm × 24.1 cm) board, the red canna lily framed by green and dark yellow background colors at the top and right of the painting and dark blue at the bottom and left. The carefully blended colors and voluptuous curves reflect her emerging personal style. Once owned by Pollitzer family members of North Carolina, it was displayed at  Columbia College in South Carolina, where O'Keeffe was an instructor. The painting was acquired by High Museum of Art of Atlanta by 2015.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Inside Red Canna (1919).

She painted an extreme close-up of the canna lily entitled Inside the Red Canna in 1919. It is a depiction of the large petals of the exterior of the flower, with focus on the interior through the use of contrasting shades of colors. The painting was made with red, orange, brown, and pink paint. The 22 in × 17 in (56 cm × 43 cm) abstract oil painting is owned by private collectors.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Inside Red Canna (1919) of this artwork, Red Canna (paintings).

She painted an extreme close-up of the canna lily entitled Inside the Red Canna in 1919. It is a depiction of the large petals of the exterior of the flower, with focus on the interior through the use of contrasting shades of colors. The painting was made with red, orange, brown, and pink paint. The 22 in × 17 in (56 cm × 43 cm) abstract oil painting is owned by private collectors.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Inside Red Canna (1919)?

She painted an extreme close-up of the canna lily entitled Inside the Red Canna in 1919. It is a depiction of the large petals of the exterior of the flower, with focus on the interior through the use of contrasting shades of colors. The painting was made with red, orange, brown, and pink paint. The 22 in × 17 in (56 cm × 43 cm) abstract oil painting is owned by private collectors.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Inside Red Canna (1919) discussed?

She painted an extreme close-up of the canna lily entitled Inside the Red Canna in 1919. It is a depiction of the large petals of the exterior of the flower, with focus on the interior through the use of contrasting shades of colors. The painting was made with red, orange, brown, and pink paint. The 22 in × 17 in (56 cm × 43 cm) abstract oil painting is owned by private collectors.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Red Canna (1923).

The version made in 1923 is an oil painting of a red canna lily against a yellow background. The Lily nearly fills the 12 in × 10 in (30 cm × 25 cm) canvas. It is owned by the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Red Canna (1923) of this artwork, Red Canna (paintings).

The version made in 1923 is an oil painting of a red canna lily against a yellow background. The Lily nearly fills the 12 in × 10 in (30 cm × 25 cm) canvas. It is owned by the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Red Canna (1923)?

The version made in 1923 is an oil painting of a red canna lily against a yellow background. The Lily nearly fills the 12 in × 10 in (30 cm × 25 cm) canvas. It is owned by the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Red Canna (1923) discussed?

The version made in 1923 is an oil painting of a red canna lily against a yellow background. The Lily nearly fills the 12 in × 10 in (30 cm × 25 cm) canvas. It is owned by the Pennsylvania Academy of the Fine Arts in Philadelphia, Pennsylvania.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Red Canna (1924).

The 1924 painting, a close-up of the flower with streaks of light blue and gray, immerses the viewer in the blossom, and is meant to convey the way that O'Keeffe experiences it.In the 1920s it was believed to be among the collection of Flora Stieglitz Strauss and possibly that of O'Keeffe in 1953. It was in private collections until 1993, when it was acquired by Sotheby's in New York. It was last recorded to be in the private collection of A. Alfred Taubman.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Red Canna (1924) of this artwork, Red Canna (paintings).

The 1924 painting, a close-up of the flower with streaks of light blue and gray, immerses the viewer in the blossom, and is meant to convey the way that O'Keeffe experiences it.In the 1920s it was believed to be among the collection of Flora Stieglitz Strauss and possibly that of O'Keeffe in 1953. It was in private collections until 1993, when it was acquired by Sotheby's in New York. It was last recorded to be in the private collection of A. Alfred Taubman.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Red Canna (1924)?

The 1924 painting, a close-up of the flower with streaks of light blue and gray, immerses the viewer in the blossom, and is meant to convey the way that O'Keeffe experiences it.In the 1920s it was believed to be among the collection of Flora Stieglitz Strauss and possibly that of O'Keeffe in 1953. It was in private collections until 1993, when it was acquired by Sotheby's in New York. It was last recorded to be in the private collection of A. Alfred Taubman.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Red Canna (1924) discussed?

The 1924 painting, a close-up of the flower with streaks of light blue and gray, immerses the viewer in the blossom, and is meant to convey the way that O'Keeffe experiences it.In the 1920s it was believed to be among the collection of Flora Stieglitz Strauss and possibly that of O'Keeffe in 1953. It was in private collections until 1993, when it was acquired by Sotheby's in New York. It was last recorded to be in the private collection of A. Alfred Taubman.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Red Canna (1925–1926).

She painted the interior of the flower in reds, oranges, yellows, and pinks. Painted in oil, the abstract painting is 36 by 30 inches (91 cm × 76 cm). It is owned by the University of Arizona Museum of Art.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Red Canna (1925–1926) of this artwork, Red Canna (paintings).

She painted the interior of the flower in reds, oranges, yellows, and pinks. Painted in oil, the abstract painting is 36 by 30 inches (91 cm × 76 cm). It is owned by the University of Arizona Museum of Art.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Red Canna (1925–1926)?

She painted the interior of the flower in reds, oranges, yellows, and pinks. Painted in oil, the abstract painting is 36 by 30 inches (91 cm × 76 cm). It is owned by the University of Arizona Museum of Art.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Red Canna (1925–1926) discussed?

She painted the interior of the flower in reds, oranges, yellows, and pinks. Painted in oil, the abstract painting is 36 by 30 inches (91 cm × 76 cm). It is owned by the University of Arizona Museum of Art.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Red and Orange Canna (1926).

Another close-up painted in oil, the 20 in × 16 in (51 cm × 41 cm) painting is among the collection of the Georgia O'Keeffe Museum.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Red and Orange Canna (1926) of this artwork, Red Canna (paintings).

Another close-up painted in oil, the 20 in × 16 in (51 cm × 41 cm) painting is among the collection of the Georgia O'Keeffe Museum.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Red and Orange Canna (1926)?

Another close-up painted in oil, the 20 in × 16 in (51 cm × 41 cm) painting is among the collection of the Georgia O'Keeffe Museum.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Red and Orange Canna (1926) discussed?

Another close-up painted in oil, the 20 in × 16 in (51 cm × 41 cm) painting is among the collection of the Georgia O'Keeffe Museum.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Focus on Red Canna (paintings) and explain the Red Cannas (1927).

In 1927, O'Keeffe made a painting of a close-up of the wide red petals of the canna lily. Painted in oil, it is 36+1⁄8 by 30+1⁄8 inches (91.8 cm × 76.5 cm). Once among private collections, it is now owned by Amon Carter Museum of American Art in Fort Worth, Texas.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: Explain the Red Cannas (1927) of this artwork, Red Canna (paintings).

In 1927, O'Keeffe made a painting of a close-up of the wide red petals of the canna lily. Painted in oil, it is 36+1⁄8 by 30+1⁄8 inches (91.8 cm × 76.5 cm). Once among private collections, it is now owned by Amon Carter Museum of American Art in Fort Worth, Texas.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: How does Red Canna (paintings) explain its Red Cannas (1927)?

In 1927, O'Keeffe made a painting of a close-up of the wide red petals of the canna lily. Painted in oil, it is 36+1⁄8 by 30+1⁄8 inches (91.8 cm × 76.5 cm). Once among private collections, it is now owned by Amon Carter Museum of American Art in Fort Worth, Texas.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Red Canna (paintings)

Prompt: In Red Canna (paintings), how is the Red Cannas (1927) discussed?

In 1927, O'Keeffe made a painting of a close-up of the wide red petals of the canna lily. Painted in oil, it is 36+1⁄8 by 30+1⁄8 inches (91.8 cm × 76.5 cm). Once among private collections, it is now owned by Amon Carter Museum of American Art in Fort Worth, Texas.

Georgia O'Keeffe, ''Red Canna'', 1915, [[Yale University Art Gallery

File:Georgia O'Keeffe Red Canna 1915 Yale University Art Gallery.tif

File:Georgia O'Keeffe Red Canna 1919 HMA.jpg

Georgia O'Keeffe, ''Red Canna'', 1919, [[High Museum of Art


Prompt: Focus on Portrait of George Washington Taking the Salute at Trenton and explain the abstract.

The Portrait of George Washington Taking the Salute at Trenton is a large full-length oil on canvas painting by the Scottish artist John Faed depicting General George Washington on the battlefield at Trenton, New Jersey, during the American Revolutionary War. The equestrian portrait was the basis for the engraving Washington Receiving a Salute on the Field of Trenton by the British artist William Holl.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: Explain the abstract of this artwork, Portrait of George Washington Taking the Salute at Trenton.

The Portrait of George Washington Taking the Salute at Trenton is a large full-length oil on canvas painting by the Scottish artist John Faed depicting General George Washington on the battlefield at Trenton, New Jersey, during the American Revolutionary War. The equestrian portrait was the basis for the engraving Washington Receiving a Salute on the Field of Trenton by the British artist William Holl.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: How does Portrait of George Washington Taking the Salute at Trenton explain its abstract?

The Portrait of George Washington Taking the Salute at Trenton is a large full-length oil on canvas painting by the Scottish artist John Faed depicting General George Washington on the battlefield at Trenton, New Jersey, during the American Revolutionary War. The equestrian portrait was the basis for the engraving Washington Receiving a Salute on the Field of Trenton by the British artist William Holl.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: In Portrait of George Washington Taking the Salute at Trenton, how is the abstract discussed?

The Portrait of George Washington Taking the Salute at Trenton is a large full-length oil on canvas painting by the Scottish artist John Faed depicting General George Washington on the battlefield at Trenton, New Jersey, during the American Revolutionary War. The equestrian portrait was the basis for the engraving Washington Receiving a Salute on the Field of Trenton by the British artist William Holl.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: Focus on Portrait of George Washington Taking the Salute at Trenton and explain the History.

John Faed (1819–1902) was a member of the Royal Scottish Academy. In 1856, the portrait was sold to the publisher James Keith for £200 (equivalent to £23,610 in 2023). According to biographer Mary McKerrow, "Why he painted this important posthumous equestrian portrait of George Washington Taking the Salute at Trenton has still to be discovered."  According to the provenance provided by Christie's, the painting originated from a commission by Andrew Carnegie. It sold in 1969 for US$662,500 at Christie's auction house.  By 1982, it was in the collection of St. Mary's Art Guild in Detroit, Michigan. In 1984 the painting was sold anonymously for US$43,000 by Sotheby's. The painting was on display at the Westervelt–Warner Museum of American Art, renamed the Tuscaloosa Museum of Art, created by Jack Warner to display his art collection. Washington was Warner's personal hero. The art museum closed in 2018.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: Explain the History of this artwork, Portrait of George Washington Taking the Salute at Trenton.

John Faed (1819–1902) was a member of the Royal Scottish Academy. In 1856, the portrait was sold to the publisher James Keith for £200 (equivalent to £23,610 in 2023). According to biographer Mary McKerrow, "Why he painted this important posthumous equestrian portrait of George Washington Taking the Salute at Trenton has still to be discovered."  According to the provenance provided by Christie's, the painting originated from a commission by Andrew Carnegie. It sold in 1969 for US$662,500 at Christie's auction house.  By 1982, it was in the collection of St. Mary's Art Guild in Detroit, Michigan. In 1984 the painting was sold anonymously for US$43,000 by Sotheby's. The painting was on display at the Westervelt–Warner Museum of American Art, renamed the Tuscaloosa Museum of Art, created by Jack Warner to display his art collection. Washington was Warner's personal hero. The art museum closed in 2018.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: How does Portrait of George Washington Taking the Salute at Trenton explain its History?

John Faed (1819–1902) was a member of the Royal Scottish Academy. In 1856, the portrait was sold to the publisher James Keith for £200 (equivalent to £23,610 in 2023). According to biographer Mary McKerrow, "Why he painted this important posthumous equestrian portrait of George Washington Taking the Salute at Trenton has still to be discovered."  According to the provenance provided by Christie's, the painting originated from a commission by Andrew Carnegie. It sold in 1969 for US$662,500 at Christie's auction house.  By 1982, it was in the collection of St. Mary's Art Guild in Detroit, Michigan. In 1984 the painting was sold anonymously for US$43,000 by Sotheby's. The painting was on display at the Westervelt–Warner Museum of American Art, renamed the Tuscaloosa Museum of Art, created by Jack Warner to display his art collection. Washington was Warner's personal hero. The art museum closed in 2018.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: In Portrait of George Washington Taking the Salute at Trenton, how is the History discussed?

John Faed (1819–1902) was a member of the Royal Scottish Academy. In 1856, the portrait was sold to the publisher James Keith for £200 (equivalent to £23,610 in 2023). According to biographer Mary McKerrow, "Why he painted this important posthumous equestrian portrait of George Washington Taking the Salute at Trenton has still to be discovered."  According to the provenance provided by Christie's, the painting originated from a commission by Andrew Carnegie. It sold in 1969 for US$662,500 at Christie's auction house.  By 1982, it was in the collection of St. Mary's Art Guild in Detroit, Michigan. In 1984 the painting was sold anonymously for US$43,000 by Sotheby's. The painting was on display at the Westervelt–Warner Museum of American Art, renamed the Tuscaloosa Museum of Art, created by Jack Warner to display his art collection. Washington was Warner's personal hero. The art museum closed in 2018.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: Focus on Portrait of George Washington Taking the Salute at Trenton and explain the Description.

General George Washington (1732–1799) is depicted in full military uniform, a blue coat over buff waistcoat and pants, riding on a white horse. There is a leopard-skin blanket under his saddle. He is holding a tricorner hat in his left hand and an outstretched sword in his right hand. The background shows a small group of military tents. The figure's head is based on the work of another painter, namely the Athenaeum Portrait of Washington by the American painter Gilbert Stuart (1755–1828). The painting is 142.2 centimeters (56.0 in) high and 105.4 centimeters (41.5 in) wide.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: Explain the Description of this artwork, Portrait of George Washington Taking the Salute at Trenton.

General George Washington (1732–1799) is depicted in full military uniform, a blue coat over buff waistcoat and pants, riding on a white horse. There is a leopard-skin blanket under his saddle. He is holding a tricorner hat in his left hand and an outstretched sword in his right hand. The background shows a small group of military tents. The figure's head is based on the work of another painter, namely the Athenaeum Portrait of Washington by the American painter Gilbert Stuart (1755–1828). The painting is 142.2 centimeters (56.0 in) high and 105.4 centimeters (41.5 in) wide.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: How does Portrait of George Washington Taking the Salute at Trenton explain its Description?

General George Washington (1732–1799) is depicted in full military uniform, a blue coat over buff waistcoat and pants, riding on a white horse. There is a leopard-skin blanket under his saddle. He is holding a tricorner hat in his left hand and an outstretched sword in his right hand. The background shows a small group of military tents. The figure's head is based on the work of another painter, namely the Athenaeum Portrait of Washington by the American painter Gilbert Stuart (1755–1828). The painting is 142.2 centimeters (56.0 in) high and 105.4 centimeters (41.5 in) wide.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: In Portrait of George Washington Taking the Salute at Trenton, how is the Description discussed?

General George Washington (1732–1799) is depicted in full military uniform, a blue coat over buff waistcoat and pants, riding on a white horse. There is a leopard-skin blanket under his saddle. He is holding a tricorner hat in his left hand and an outstretched sword in his right hand. The background shows a small group of military tents. The figure's head is based on the work of another painter, namely the Athenaeum Portrait of Washington by the American painter Gilbert Stuart (1755–1828). The painting is 142.2 centimeters (56.0 in) high and 105.4 centimeters (41.5 in) wide.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: Focus on Portrait of George Washington Taking the Salute at Trenton and explain the Engraving.

Washington Receiving a Salute on the Field of Trenton is an engraving by William Holl (1807–1871) based on Faed's equestrian portrait. In 1865, the National Art Association of New York published it exclusively for subscribers. The print is 24 inches (61 cm) high and 17+10⁄16 inches (44.8 cm) wide. The print was recommended for school use and seen in classrooms.William Spohn Baker notes: An admirable engraving, of an admirable picture. The horse, which is exceedingly well drawn, is said to have been painted by R. Ansdell, the composition of the picture being by Faed. Head after Stuart.In 1866, an advertisement in the Herald of Health for this engraving stated: This picture shows Washington on horseback, and when framed can not fail to prove a most interesting ornament to any parlor or sitting-room. Its influence upon the children of a house would be worth many times its cost in cultivating their tastes for fine works of art.In 1880, his portrait bust engraving was used to illustrate an article on Washington in the Magazine of American History.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: Explain the Engraving of this artwork, Portrait of George Washington Taking the Salute at Trenton.

Washington Receiving a Salute on the Field of Trenton is an engraving by William Holl (1807–1871) based on Faed's equestrian portrait. In 1865, the National Art Association of New York published it exclusively for subscribers. The print is 24 inches (61 cm) high and 17+10⁄16 inches (44.8 cm) wide. The print was recommended for school use and seen in classrooms.William Spohn Baker notes: An admirable engraving, of an admirable picture. The horse, which is exceedingly well drawn, is said to have been painted by R. Ansdell, the composition of the picture being by Faed. Head after Stuart.In 1866, an advertisement in the Herald of Health for this engraving stated: This picture shows Washington on horseback, and when framed can not fail to prove a most interesting ornament to any parlor or sitting-room. Its influence upon the children of a house would be worth many times its cost in cultivating their tastes for fine works of art.In 1880, his portrait bust engraving was used to illustrate an article on Washington in the Magazine of American History.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: How does Portrait of George Washington Taking the Salute at Trenton explain its Engraving?

Washington Receiving a Salute on the Field of Trenton is an engraving by William Holl (1807–1871) based on Faed's equestrian portrait. In 1865, the National Art Association of New York published it exclusively for subscribers. The print is 24 inches (61 cm) high and 17+10⁄16 inches (44.8 cm) wide. The print was recommended for school use and seen in classrooms.William Spohn Baker notes: An admirable engraving, of an admirable picture. The horse, which is exceedingly well drawn, is said to have been painted by R. Ansdell, the composition of the picture being by Faed. Head after Stuart.In 1866, an advertisement in the Herald of Health for this engraving stated: This picture shows Washington on horseback, and when framed can not fail to prove a most interesting ornament to any parlor or sitting-room. Its influence upon the children of a house would be worth many times its cost in cultivating their tastes for fine works of art.In 1880, his portrait bust engraving was used to illustrate an article on Washington in the Magazine of American History.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: In Portrait of George Washington Taking the Salute at Trenton, how is the Engraving discussed?

Washington Receiving a Salute on the Field of Trenton is an engraving by William Holl (1807–1871) based on Faed's equestrian portrait. In 1865, the National Art Association of New York published it exclusively for subscribers. The print is 24 inches (61 cm) high and 17+10⁄16 inches (44.8 cm) wide. The print was recommended for school use and seen in classrooms.William Spohn Baker notes: An admirable engraving, of an admirable picture. The horse, which is exceedingly well drawn, is said to have been painted by R. Ansdell, the composition of the picture being by Faed. Head after Stuart.In 1866, an advertisement in the Herald of Health for this engraving stated: This picture shows Washington on horseback, and when framed can not fail to prove a most interesting ornament to any parlor or sitting-room. Its influence upon the children of a house would be worth many times its cost in cultivating their tastes for fine works of art.In 1880, his portrait bust engraving was used to illustrate an article on Washington in the Magazine of American History.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: Focus on Portrait of George Washington Taking the Salute at Trenton and explain the Legacy.

Shadows of Liberty (2016), by American contemporary painter Titus Kaphar, is a reimagined presentation of the painting.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: Explain the Legacy of this artwork, Portrait of George Washington Taking the Salute at Trenton.

Shadows of Liberty (2016), by American contemporary painter Titus Kaphar, is a reimagined presentation of the painting.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: How does Portrait of George Washington Taking the Salute at Trenton explain its Legacy?

Shadows of Liberty (2016), by American contemporary painter Titus Kaphar, is a reimagined presentation of the painting.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Prompt: In Portrait of George Washington Taking the Salute at Trenton, how is the Legacy discussed?

Shadows of Liberty (2016), by American contemporary painter Titus Kaphar, is a reimagined presentation of the painting.

Category:Paintings about the American Revolution

National Portrait Gallery (United States)

Category:New Jersey in the American Revolution

File:Washington receiving a salute on the field of Trenton LCCN2004669633 (cropped).jpg

''Washington Receiving a Salute on the Field of Trenton'', engraving by [[William Holl the Younger

The Capture of the Hessians at Trenton, December 26, 1776

The Grolier Club of the City of New York


Winged Lion Memorial

Prompt: Focus on Winged Lion Memorial and explain the abstract.

The Winged Lion Memorial (Czech: Památník Okřídleného lva) was unveiled on 17 June 2014 at Klárov in Prague by the British Member of Parliament, Rt Hon Sir Nicholas Soames MP, grandson of Sir Winston Churchill.  It is dedicated to the Czechoslovak airmen who served in the Royal Air Force (RAF) during World War II and who achieved acclaim for their contribution to the Battle of Britain.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: Explain the abstract of this artwork, Winged Lion Memorial.

The Winged Lion Memorial (Czech: Památník Okřídleného lva) was unveiled on 17 June 2014 at Klárov in Prague by the British Member of Parliament, Rt Hon Sir Nicholas Soames MP, grandson of Sir Winston Churchill.  It is dedicated to the Czechoslovak airmen who served in the Royal Air Force (RAF) during World War II and who achieved acclaim for their contribution to the Battle of Britain.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: How does Winged Lion Memorial explain its abstract?

The Winged Lion Memorial (Czech: Památník Okřídleného lva) was unveiled on 17 June 2014 at Klárov in Prague by the British Member of Parliament, Rt Hon Sir Nicholas Soames MP, grandson of Sir Winston Churchill.  It is dedicated to the Czechoslovak airmen who served in the Royal Air Force (RAF) during World War II and who achieved acclaim for their contribution to the Battle of Britain.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: In Winged Lion Memorial, how is the abstract discussed?

The Winged Lion Memorial (Czech: Památník Okřídleného lva) was unveiled on 17 June 2014 at Klárov in Prague by the British Member of Parliament, Rt Hon Sir Nicholas Soames MP, grandson of Sir Winston Churchill.  It is dedicated to the Czechoslovak airmen who served in the Royal Air Force (RAF) during World War II and who achieved acclaim for their contribution to the Battle of Britain.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: Focus on Winged Lion Memorial and explain the Description.

The two metre high Winged Lion is the work of the contemporary British sculptor Colin Spofforth. The Lion was cast in bronze at the artistic foundry in Horní Kalná, Hradec Králové Region. The Lion is placed on a concrete plinth covered by Czech granite. When viewed from above, the circular pedestal resembles the insignia of the Czech Air Force. The plinth riveted side coverings replicate the fuselage surface of aircraft of the day and since 2018 bear the names of all the Czechoslovaks who served with the Royal Air Force during the second world war.  In 2019 the site was extended with benches, information panels and paving around the plinth.Inscribed on the monument in both Czech and English is: This monument is an expression of the British Community’s lasting gratitude to the 2,500 Czechoslovak airmen who served with the Royal Air Force between 1940 and 1945 for the freedom of Europe.Also there is a quotation from British poet William Kean Seymour (1887-1975): "He fights for freedom, one of freedom's sons, lone in his aery sphere of blue and bronze."It was unveiled by the right honourable Sir Nicholas Soames MP on 17 June 2014 as a gift to the Czech and Slovak peoples from the British community living and working in Czechia and Slovakia.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: Explain the Description of this artwork, Winged Lion Memorial.

The two metre high Winged Lion is the work of the contemporary British sculptor Colin Spofforth. The Lion was cast in bronze at the artistic foundry in Horní Kalná, Hradec Králové Region. The Lion is placed on a concrete plinth covered by Czech granite. When viewed from above, the circular pedestal resembles the insignia of the Czech Air Force. The plinth riveted side coverings replicate the fuselage surface of aircraft of the day and since 2018 bear the names of all the Czechoslovaks who served with the Royal Air Force during the second world war.  In 2019 the site was extended with benches, information panels and paving around the plinth.Inscribed on the monument in both Czech and English is: This monument is an expression of the British Community’s lasting gratitude to the 2,500 Czechoslovak airmen who served with the Royal Air Force between 1940 and 1945 for the freedom of Europe.Also there is a quotation from British poet William Kean Seymour (1887-1975): "He fights for freedom, one of freedom's sons, lone in his aery sphere of blue and bronze."It was unveiled by the right honourable Sir Nicholas Soames MP on 17 June 2014 as a gift to the Czech and Slovak peoples from the British community living and working in Czechia and Slovakia.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: How does Winged Lion Memorial explain its Description?

The two metre high Winged Lion is the work of the contemporary British sculptor Colin Spofforth. The Lion was cast in bronze at the artistic foundry in Horní Kalná, Hradec Králové Region. The Lion is placed on a concrete plinth covered by Czech granite. When viewed from above, the circular pedestal resembles the insignia of the Czech Air Force. The plinth riveted side coverings replicate the fuselage surface of aircraft of the day and since 2018 bear the names of all the Czechoslovaks who served with the Royal Air Force during the second world war.  In 2019 the site was extended with benches, information panels and paving around the plinth.Inscribed on the monument in both Czech and English is: This monument is an expression of the British Community’s lasting gratitude to the 2,500 Czechoslovak airmen who served with the Royal Air Force between 1940 and 1945 for the freedom of Europe.Also there is a quotation from British poet William Kean Seymour (1887-1975): "He fights for freedom, one of freedom's sons, lone in his aery sphere of blue and bronze."It was unveiled by the right honourable Sir Nicholas Soames MP on 17 June 2014 as a gift to the Czech and Slovak peoples from the British community living and working in Czechia and Slovakia.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: In Winged Lion Memorial, how is the Description discussed?

The two metre high Winged Lion is the work of the contemporary British sculptor Colin Spofforth. The Lion was cast in bronze at the artistic foundry in Horní Kalná, Hradec Králové Region. The Lion is placed on a concrete plinth covered by Czech granite. When viewed from above, the circular pedestal resembles the insignia of the Czech Air Force. The plinth riveted side coverings replicate the fuselage surface of aircraft of the day and since 2018 bear the names of all the Czechoslovaks who served with the Royal Air Force during the second world war.  In 2019 the site was extended with benches, information panels and paving around the plinth.Inscribed on the monument in both Czech and English is: This monument is an expression of the British Community’s lasting gratitude to the 2,500 Czechoslovak airmen who served with the Royal Air Force between 1940 and 1945 for the freedom of Europe.Also there is a quotation from British poet William Kean Seymour (1887-1975): "He fights for freedom, one of freedom's sons, lone in his aery sphere of blue and bronze."It was unveiled by the right honourable Sir Nicholas Soames MP on 17 June 2014 as a gift to the Czech and Slovak peoples from the British community living and working in Czechia and Slovakia.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: Focus on Winged Lion Memorial and explain the History.

During World War II, some 2507 Czech and Slovak men and women served in the British Royal Air Force. About a fifth of them did not survive the war. Not all of them were pilots. In addition to the well-known men in blue, there was the ground crew. Other men worked in administrative positions such as liaison officers in the Royal Air Force or in the training units. Among the RAF pilots there were also airmen from many other countries. Czechoslovaks, like their Polish comrades, earned a great reputation in the RAF.After February 1948, the Czechoslovaks who had served in the RAF and had repatriated to Czechoslovakia after 15 August 1945, often with wives and children, were subsequently persecuted by the communist regime.The installation of the monument met with the criticism of Prague's conservationists, who protested against its location.  The protest was not upheld.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: Explain the History of this artwork, Winged Lion Memorial.

During World War II, some 2507 Czech and Slovak men and women served in the British Royal Air Force. About a fifth of them did not survive the war. Not all of them were pilots. In addition to the well-known men in blue, there was the ground crew. Other men worked in administrative positions such as liaison officers in the Royal Air Force or in the training units. Among the RAF pilots there were also airmen from many other countries. Czechoslovaks, like their Polish comrades, earned a great reputation in the RAF.After February 1948, the Czechoslovaks who had served in the RAF and had repatriated to Czechoslovakia after 15 August 1945, often with wives and children, were subsequently persecuted by the communist regime.The installation of the monument met with the criticism of Prague's conservationists, who protested against its location.  The protest was not upheld.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: How does Winged Lion Memorial explain its History?

During World War II, some 2507 Czech and Slovak men and women served in the British Royal Air Force. About a fifth of them did not survive the war. Not all of them were pilots. In addition to the well-known men in blue, there was the ground crew. Other men worked in administrative positions such as liaison officers in the Royal Air Force or in the training units. Among the RAF pilots there were also airmen from many other countries. Czechoslovaks, like their Polish comrades, earned a great reputation in the RAF.After February 1948, the Czechoslovaks who had served in the RAF and had repatriated to Czechoslovakia after 15 August 1945, often with wives and children, were subsequently persecuted by the communist regime.The installation of the monument met with the criticism of Prague's conservationists, who protested against its location.  The protest was not upheld.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic


Winged Lion Memorial

Prompt: In Winged Lion Memorial, how is the History discussed?

During World War II, some 2507 Czech and Slovak men and women served in the British Royal Air Force. About a fifth of them did not survive the war. Not all of them were pilots. In addition to the well-known men in blue, there was the ground crew. Other men worked in administrative positions such as liaison officers in the Royal Air Force or in the training units. Among the RAF pilots there were also airmen from many other countries. Czechoslovaks, like their Polish comrades, earned a great reputation in the RAF.After February 1948, the Czechoslovaks who had served in the RAF and had repatriated to Czechoslovakia after 15 August 1945, often with wives and children, were subsequently persecuted by the communist regime.The installation of the monument met with the criticism of Prague's conservationists, who protested against its location.  The protest was not upheld.

Category:2014 establishments in the Czech Republic

Category:Monuments and memorials in Prague

Distinguished Flying Cross (United Kingdom)

Category:21st-century architecture in the Czech Republic

Category:Animal sculptures in the Czech Republic