Wall of Respect

Prompt: How does Wall of Respect explain its abstract?

The Wall of Respect was an outdoor mural first painted in 1967 by the Visual Arts Workshop of the Organization of Black American Culture (OBAC). It is considered the first large-scale, outdoor community mural, which spawned a movement across the U.S. and internationally.  The mural represented the contributions of fourteen designers, photographers, painters, and others, notably Chicago muralist William Walker, in a design layout proposed by Laini (Sylvia) Abernathy. Some of the artists would go on to found the influential AfriCOBRA artists collective. The work comprised a montage of portraits of heroes and heroines of African American history painted on the sides of two story, closed tavern building at the corner of Chicago's East 43rd Street and South Langley Avenue, in Bronzeville, Chicago, sometimes called the Black Belt. Images included Nat Turner, Elijah Muhammad, Malcolm X, Muhammad Ali, Gwendolyn Brooks, W.E.B. Dubois, Marcus Garvey, Aretha Franklin, and Harriet Tubman, among others.While it only lasted a few years, until the building was torn down in 1972, it inspired community mural projects across the United States and internationally.Wall of Respect was an example of the Black Arts Movement, an artistic school associated with the Black Power Movement. The scholarly journal Science & Society underscored the significance of the Wall of Respect as "the first collective street mural", in the "important subject [of] the recently emerged street art movement." The Wall became famous as a "revolutionary political artwork of black liberation". Soon after its creation, a six-page feature spread in  Ebony magazine brought it to the attention of African Americans nationwide. It became a source of inspiration and pride for the black community. For some, the Wall represented not only artistic freedom, but the freedom and liberation that could be obtained as a result of the Civil Rights Movement. However, soon after its creation, increasingly polarized interpretations of heroic action within the African American community caused conflict over the paintings, notably with the replacement by artist Eugene Eda of more defiant leaders and symbols, such as the fist of the Black Power Movement.  In addition, "The Wall" served as the backdrop for community protests, speeches, outdoor poetry readings, street theater productions, and community events.Wall of Respect catalyzed a larger mural movement in Chicago and across the United States. Chicago is known for the plethora of murals in cultural neighborhoods. The explosion of murals throughout Chicago is due, in part, to the creation of the Wall of Respect.  By 1975 at least 200 large outdoor murals existed mostly in African American Neighborhoods.  The Wall of Respect's success also sparked a movement of large open-air neighborhood mural paintings across to the United States.  In the eight years following the Wall's unveiling, more than 1,500 murals were painted, many taking the same name, or variations beginning with, Wall of . . ..After a 1971 fire damaged the building on which the Wall of Respect was painted, the entire structure was torn down and the mural thus destroyed. One of the few remaining pieces of The Wall is a smaller panel that consisted of an affixed photograph of Amiri Baraka by Darryl Cowherd, such panels were interspersed among the larger paintings. The larger mural also visually lived on in photography, particularly, the studies by OBAC photographer, Robert A. Sengstacke. For a time forgotten by the mainstream art world, the Wall of Respect continues to be an important cultural reference point for local community members and the subject of scholarly inquiry. Recent efforts, such as an online exhibit organized by the Block Museum at Northwestern University (which includes a clickable map of the Wall's individual portraits), and the edited volume, The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Northwestern University Press, 2017), aim to recover the Wall's history and make it accessible again.

Category:1967 establishments in Illinois

Category:Buildings and structures demolished in 1971

Category:1971 disestablishments in Illinois


Wall of Respect

Prompt: In Wall of Respect, how is the abstract discussed?

The Wall of Respect was an outdoor mural first painted in 1967 by the Visual Arts Workshop of the Organization of Black American Culture (OBAC). It is considered the first large-scale, outdoor community mural, which spawned a movement across the U.S. and internationally.  The mural represented the contributions of fourteen designers, photographers, painters, and others, notably Chicago muralist William Walker, in a design layout proposed by Laini (Sylvia) Abernathy. Some of the artists would go on to found the influential AfriCOBRA artists collective. The work comprised a montage of portraits of heroes and heroines of African American history painted on the sides of two story, closed tavern building at the corner of Chicago's East 43rd Street and South Langley Avenue, in Bronzeville, Chicago, sometimes called the Black Belt. Images included Nat Turner, Elijah Muhammad, Malcolm X, Muhammad Ali, Gwendolyn Brooks, W.E.B. Dubois, Marcus Garvey, Aretha Franklin, and Harriet Tubman, among others.While it only lasted a few years, until the building was torn down in 1972, it inspired community mural projects across the United States and internationally.Wall of Respect was an example of the Black Arts Movement, an artistic school associated with the Black Power Movement. The scholarly journal Science & Society underscored the significance of the Wall of Respect as "the first collective street mural", in the "important subject [of] the recently emerged street art movement." The Wall became famous as a "revolutionary political artwork of black liberation". Soon after its creation, a six-page feature spread in  Ebony magazine brought it to the attention of African Americans nationwide. It became a source of inspiration and pride for the black community. For some, the Wall represented not only artistic freedom, but the freedom and liberation that could be obtained as a result of the Civil Rights Movement. However, soon after its creation, increasingly polarized interpretations of heroic action within the African American community caused conflict over the paintings, notably with the replacement by artist Eugene Eda of more defiant leaders and symbols, such as the fist of the Black Power Movement.  In addition, "The Wall" served as the backdrop for community protests, speeches, outdoor poetry readings, street theater productions, and community events.Wall of Respect catalyzed a larger mural movement in Chicago and across the United States. Chicago is known for the plethora of murals in cultural neighborhoods. The explosion of murals throughout Chicago is due, in part, to the creation of the Wall of Respect.  By 1975 at least 200 large outdoor murals existed mostly in African American Neighborhoods.  The Wall of Respect's success also sparked a movement of large open-air neighborhood mural paintings across to the United States.  In the eight years following the Wall's unveiling, more than 1,500 murals were painted, many taking the same name, or variations beginning with, Wall of . . ..After a 1971 fire damaged the building on which the Wall of Respect was painted, the entire structure was torn down and the mural thus destroyed. One of the few remaining pieces of The Wall is a smaller panel that consisted of an affixed photograph of Amiri Baraka by Darryl Cowherd, such panels were interspersed among the larger paintings. The larger mural also visually lived on in photography, particularly, the studies by OBAC photographer, Robert A. Sengstacke. For a time forgotten by the mainstream art world, the Wall of Respect continues to be an important cultural reference point for local community members and the subject of scholarly inquiry. Recent efforts, such as an online exhibit organized by the Block Museum at Northwestern University (which includes a clickable map of the Wall's individual portraits), and the edited volume, The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Northwestern University Press, 2017), aim to recover the Wall's history and make it accessible again.

Category:1967 establishments in Illinois

Category:Buildings and structures demolished in 1971

Category:1971 disestablishments in Illinois


Venus and Adonis (Veronese, Madrid)

Prompt: Focus on Venus and Adonis (Veronese, Madrid) and explain the abstract.

Venus and Adonis is a painting by the Italian late Mannerist artist Paolo Veronese, executed in the early 1580s, now in the Museo del Prado, in Madrid.It is an oil on canvas and its dimensions are 162 cm × 191 cm (64 in × 75 in). The original painting was enlarged by 50 cm in the upper border in the 18th century. This added section was removed in a restoration in 1988, so the work recovered its original horizontal format.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: Explain the abstract of this artwork, Venus and Adonis (Veronese, Madrid).

Venus and Adonis is a painting by the Italian late Mannerist artist Paolo Veronese, executed in the early 1580s, now in the Museo del Prado, in Madrid.It is an oil on canvas and its dimensions are 162 cm × 191 cm (64 in × 75 in). The original painting was enlarged by 50 cm in the upper border in the 18th century. This added section was removed in a restoration in 1988, so the work recovered its original horizontal format.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: How does Venus and Adonis (Veronese, Madrid) explain its abstract?

Venus and Adonis is a painting by the Italian late Mannerist artist Paolo Veronese, executed in the early 1580s, now in the Museo del Prado, in Madrid.It is an oil on canvas and its dimensions are 162 cm × 191 cm (64 in × 75 in). The original painting was enlarged by 50 cm in the upper border in the 18th century. This added section was removed in a restoration in 1988, so the work recovered its original horizontal format.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: In Venus and Adonis (Veronese, Madrid), how is the abstract discussed?

Venus and Adonis is a painting by the Italian late Mannerist artist Paolo Veronese, executed in the early 1580s, now in the Museo del Prado, in Madrid.It is an oil on canvas and its dimensions are 162 cm × 191 cm (64 in × 75 in). The original painting was enlarged by 50 cm in the upper border in the 18th century. This added section was removed in a restoration in 1988, so the work recovered its original horizontal format.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: Focus on Venus and Adonis (Veronese, Madrid) and explain the Subject and context.

The painting's subject is taken from Metamorphoses, a narrative poem by the Roman poet Ovid.  It portrays the hunter Adonis sleeping in Venus' lap. In front of her is her son Cupid, with a sighthound. Cupid is portrayed while trying to quench the dog's desire to hunt, as Venus had forecast that Adonis would die during a hunt.  In the background is a lively green landscape, with a vivid blue sky. The painting was executed after Veronese had spent a period in Rome. He modelled his Cupid on the Hellenistic sculpture of a boy with a goose, while Adonis may be modelled on an illustration of Endymion on a Roman sarcophagus in the Archbasilica of Saint John Lateran.The pendant of this painting, also created by Veronese in the same period, is Cephalus and Procris. It portrays another tragic couple from Metamorphoses, and is now in the Museum of Fine Arts of Strasbourg.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: Explain the Subject and context of this artwork, Venus and Adonis (Veronese, Madrid).

The painting's subject is taken from Metamorphoses, a narrative poem by the Roman poet Ovid.  It portrays the hunter Adonis sleeping in Venus' lap. In front of her is her son Cupid, with a sighthound. Cupid is portrayed while trying to quench the dog's desire to hunt, as Venus had forecast that Adonis would die during a hunt.  In the background is a lively green landscape, with a vivid blue sky. The painting was executed after Veronese had spent a period in Rome. He modelled his Cupid on the Hellenistic sculpture of a boy with a goose, while Adonis may be modelled on an illustration of Endymion on a Roman sarcophagus in the Archbasilica of Saint John Lateran.The pendant of this painting, also created by Veronese in the same period, is Cephalus and Procris. It portrays another tragic couple from Metamorphoses, and is now in the Museum of Fine Arts of Strasbourg.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: How does Venus and Adonis (Veronese, Madrid) explain its Subject and context?

The painting's subject is taken from Metamorphoses, a narrative poem by the Roman poet Ovid.  It portrays the hunter Adonis sleeping in Venus' lap. In front of her is her son Cupid, with a sighthound. Cupid is portrayed while trying to quench the dog's desire to hunt, as Venus had forecast that Adonis would die during a hunt.  In the background is a lively green landscape, with a vivid blue sky. The painting was executed after Veronese had spent a period in Rome. He modelled his Cupid on the Hellenistic sculpture of a boy with a goose, while Adonis may be modelled on an illustration of Endymion on a Roman sarcophagus in the Archbasilica of Saint John Lateran.The pendant of this painting, also created by Veronese in the same period, is Cephalus and Procris. It portrays another tragic couple from Metamorphoses, and is now in the Museum of Fine Arts of Strasbourg.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: In Venus and Adonis (Veronese, Madrid), how is the Subject and context discussed?

The painting's subject is taken from Metamorphoses, a narrative poem by the Roman poet Ovid.  It portrays the hunter Adonis sleeping in Venus' lap. In front of her is her son Cupid, with a sighthound. Cupid is portrayed while trying to quench the dog's desire to hunt, as Venus had forecast that Adonis would die during a hunt.  In the background is a lively green landscape, with a vivid blue sky. The painting was executed after Veronese had spent a period in Rome. He modelled his Cupid on the Hellenistic sculpture of a boy with a goose, while Adonis may be modelled on an illustration of Endymion on a Roman sarcophagus in the Archbasilica of Saint John Lateran.The pendant of this painting, also created by Veronese in the same period, is Cephalus and Procris. It portrays another tragic couple from Metamorphoses, and is now in the Museum of Fine Arts of Strasbourg.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: Focus on Venus and Adonis (Veronese, Madrid) and explain the Provenance.

The pendant Cephalus and Procris belonged to the Spanish royal collection from 1641, when Diego Velázquez bought it in Venice, until at least 1809. It was one of the paintings taken from the collection by Joseph Bonaparte during his brief rule of Spain. It was sold several times after his death and finally bought for the Strasbourg museum by Wilhelm von Bode in Berlin in 1912.Venus and Adonis may also have been bought in 1641, with its pair.  It was at any rate in the Spanish royal collection by at least 1666, in the "Mid-day Gallery" of the Alcázar of Madrid.  After this burnt down in 1734, it is recorded in different rooms in the New Royal Palace of Madrid (on the same site) between 1772 and 1818, before most of the collection was transferred to the Prado.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: Explain the Provenance of this artwork, Venus and Adonis (Veronese, Madrid).

The pendant Cephalus and Procris belonged to the Spanish royal collection from 1641, when Diego Velázquez bought it in Venice, until at least 1809. It was one of the paintings taken from the collection by Joseph Bonaparte during his brief rule of Spain. It was sold several times after his death and finally bought for the Strasbourg museum by Wilhelm von Bode in Berlin in 1912.Venus and Adonis may also have been bought in 1641, with its pair.  It was at any rate in the Spanish royal collection by at least 1666, in the "Mid-day Gallery" of the Alcázar of Madrid.  After this burnt down in 1734, it is recorded in different rooms in the New Royal Palace of Madrid (on the same site) between 1772 and 1818, before most of the collection was transferred to the Prado.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: How does Venus and Adonis (Veronese, Madrid) explain its Provenance?

The pendant Cephalus and Procris belonged to the Spanish royal collection from 1641, when Diego Velázquez bought it in Venice, until at least 1809. It was one of the paintings taken from the collection by Joseph Bonaparte during his brief rule of Spain. It was sold several times after his death and finally bought for the Strasbourg museum by Wilhelm von Bode in Berlin in 1912.Venus and Adonis may also have been bought in 1641, with its pair.  It was at any rate in the Spanish royal collection by at least 1666, in the "Mid-day Gallery" of the Alcázar of Madrid.  After this burnt down in 1734, it is recorded in different rooms in the New Royal Palace of Madrid (on the same site) between 1772 and 1818, before most of the collection was transferred to the Prado.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Venus and Adonis (Veronese, Madrid)

Prompt: In Venus and Adonis (Veronese, Madrid), how is the Provenance discussed?

The pendant Cephalus and Procris belonged to the Spanish royal collection from 1641, when Diego Velázquez bought it in Venice, until at least 1809. It was one of the paintings taken from the collection by Joseph Bonaparte during his brief rule of Spain. It was sold several times after his death and finally bought for the Strasbourg museum by Wilhelm von Bode in Berlin in 1912.Venus and Adonis may also have been bought in 1641, with its pair.  It was at any rate in the Spanish royal collection by at least 1666, in the "Mid-day Gallery" of the Alcázar of Madrid.  After this burnt down in 1734, it is recorded in different rooms in the New Royal Palace of Madrid (on the same site) between 1772 and 1818, before most of the collection was transferred to the Prado.

The pendant: ''[[Cephalus and Procris (Paolo Veronese)

Category:Mythological paintings by Paolo Veronese

Category:Paintings in the Museo del Prado by Italian artists

Category:Paintings based on Metamorphoses


Eagle (Calder)

Prompt: Focus on Eagle (Calder) and explain the abstract.

Eagle is an abstract sculpture by Alexander Calder.It is located at the Olympic Sculpture Park, Seattle.

Category:Sculptures of birds in Washington (state)

Category:Sculptures of eagles in the United States

Category:Abstract sculptures in Washington (state)

Calder ''Eagle'' original site at Bank One in Fort Worth.

File:Calder the eagle at bank one fort worth.jpg

Category:Steel sculptures in Washington (state)


Eagle (Calder)

Prompt: Explain the abstract of this artwork, Eagle (Calder).

Eagle is an abstract sculpture by Alexander Calder.It is located at the Olympic Sculpture Park, Seattle.

Category:Sculptures of birds in Washington (state)

Category:Sculptures of eagles in the United States

Category:Abstract sculptures in Washington (state)

Calder ''Eagle'' original site at Bank One in Fort Worth.

File:Calder the eagle at bank one fort worth.jpg

Category:Steel sculptures in Washington (state)


Eagle (Calder)

Prompt: How does Eagle (Calder) explain its abstract?

Eagle is an abstract sculpture by Alexander Calder.It is located at the Olympic Sculpture Park, Seattle.

Category:Sculptures of birds in Washington (state)

Category:Sculptures of eagles in the United States

Category:Abstract sculptures in Washington (state)

Calder ''Eagle'' original site at Bank One in Fort Worth.

File:Calder the eagle at bank one fort worth.jpg

Category:Steel sculptures in Washington (state)


Eagle (Calder)

Prompt: In Eagle (Calder), how is the abstract discussed?

Eagle is an abstract sculpture by Alexander Calder.It is located at the Olympic Sculpture Park, Seattle.

Category:Sculptures of birds in Washington (state)

Category:Sculptures of eagles in the United States

Category:Abstract sculptures in Washington (state)

Calder ''Eagle'' original site at Bank One in Fort Worth.

File:Calder the eagle at bank one fort worth.jpg

Category:Steel sculptures in Washington (state)


Eagle (Calder)

Prompt: Focus on Eagle (Calder) and explain the History.

It was located at the Bank One building, 500 Throckmorton Street, Fort Worth, Texas.It was commissioned by Fort Worth National Bank.It was constructed in 1971 of painted sheet steel. It was erected, and dedicated on February 15, 1974. It was relocated in 2000 after being purchased by the Seattle Art Museum with funding from Jon and Mary Shirley.

Category:Sculptures of birds in Washington (state)

Category:Sculptures of eagles in the United States

Category:Abstract sculptures in Washington (state)

Calder ''Eagle'' original site at Bank One in Fort Worth.

File:Calder the eagle at bank one fort worth.jpg

Category:Steel sculptures in Washington (state)


Eagle (Calder)

Prompt: Explain the History of this artwork, Eagle (Calder).

It was located at the Bank One building, 500 Throckmorton Street, Fort Worth, Texas.It was commissioned by Fort Worth National Bank.It was constructed in 1971 of painted sheet steel. It was erected, and dedicated on February 15, 1974. It was relocated in 2000 after being purchased by the Seattle Art Museum with funding from Jon and Mary Shirley.

Category:Sculptures of birds in Washington (state)

Category:Sculptures of eagles in the United States

Category:Abstract sculptures in Washington (state)

Calder ''Eagle'' original site at Bank One in Fort Worth.

File:Calder the eagle at bank one fort worth.jpg

Category:Steel sculptures in Washington (state)


Eagle (Calder)

Prompt: How does Eagle (Calder) explain its History?

It was located at the Bank One building, 500 Throckmorton Street, Fort Worth, Texas.It was commissioned by Fort Worth National Bank.It was constructed in 1971 of painted sheet steel. It was erected, and dedicated on February 15, 1974. It was relocated in 2000 after being purchased by the Seattle Art Museum with funding from Jon and Mary Shirley.

Category:Sculptures of birds in Washington (state)

Category:Sculptures of eagles in the United States

Category:Abstract sculptures in Washington (state)

Calder ''Eagle'' original site at Bank One in Fort Worth.

File:Calder the eagle at bank one fort worth.jpg

Category:Steel sculptures in Washington (state)


Eagle (Calder)

Prompt: In Eagle (Calder), how is the History discussed?

It was located at the Bank One building, 500 Throckmorton Street, Fort Worth, Texas.It was commissioned by Fort Worth National Bank.It was constructed in 1971 of painted sheet steel. It was erected, and dedicated on February 15, 1974. It was relocated in 2000 after being purchased by the Seattle Art Museum with funding from Jon and Mary Shirley.

Category:Sculptures of birds in Washington (state)

Category:Sculptures of eagles in the United States

Category:Abstract sculptures in Washington (state)

Calder ''Eagle'' original site at Bank One in Fort Worth.

File:Calder the eagle at bank one fort worth.jpg

Category:Steel sculptures in Washington (state)


The Poem Tree

Prompt: Focus on The Poem Tree and explain the abstract.

The Poem Tree was a beech tree with a poem carved into it by Joseph Tubb, located on Castle Hill at Wittenham Clumps in Oxfordshire, England. The tree was believed to be around 300 years old, with Tubb's poem being carved in the 1840s. The tree died in the 1990s and rotted completely while standing, before collapsing during a period of inclement weather in July 2012. A stone, including a transcription and rubbing of the poem, was erected close to the tree in 1994, to commemorate the 150th anniversary of the carving.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: Explain the abstract of this artwork, The Poem Tree.

The Poem Tree was a beech tree with a poem carved into it by Joseph Tubb, located on Castle Hill at Wittenham Clumps in Oxfordshire, England. The tree was believed to be around 300 years old, with Tubb's poem being carved in the 1840s. The tree died in the 1990s and rotted completely while standing, before collapsing during a period of inclement weather in July 2012. A stone, including a transcription and rubbing of the poem, was erected close to the tree in 1994, to commemorate the 150th anniversary of the carving.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: How does The Poem Tree explain its abstract?

The Poem Tree was a beech tree with a poem carved into it by Joseph Tubb, located on Castle Hill at Wittenham Clumps in Oxfordshire, England. The tree was believed to be around 300 years old, with Tubb's poem being carved in the 1840s. The tree died in the 1990s and rotted completely while standing, before collapsing during a period of inclement weather in July 2012. A stone, including a transcription and rubbing of the poem, was erected close to the tree in 1994, to commemorate the 150th anniversary of the carving.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: In The Poem Tree, how is the abstract discussed?

The Poem Tree was a beech tree with a poem carved into it by Joseph Tubb, located on Castle Hill at Wittenham Clumps in Oxfordshire, England. The tree was believed to be around 300 years old, with Tubb's poem being carved in the 1840s. The tree died in the 1990s and rotted completely while standing, before collapsing during a period of inclement weather in July 2012. A stone, including a transcription and rubbing of the poem, was erected close to the tree in 1994, to commemorate the 150th anniversary of the carving.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: Focus on The Poem Tree and explain the Carving.

Tubb carved the 20-line poem into the tree over two weeks in the summer. Taking a ladder and a tent with him, but regularly forgetting to bring the original copy of the poem, he carved it from memory. Sources vary as to whether the carving took place in 1844 or between 1844 and 1845.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: Explain the Carving of this artwork, The Poem Tree.

Tubb carved the 20-line poem into the tree over two weeks in the summer. Taking a ladder and a tent with him, but regularly forgetting to bring the original copy of the poem, he carved it from memory. Sources vary as to whether the carving took place in 1844 or between 1844 and 1845.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: How does The Poem Tree explain its Carving?

Tubb carved the 20-line poem into the tree over two weeks in the summer. Taking a ladder and a tent with him, but regularly forgetting to bring the original copy of the poem, he carved it from memory. Sources vary as to whether the carving took place in 1844 or between 1844 and 1845.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: In The Poem Tree, how is the Carving discussed?

Tubb carved the 20-line poem into the tree over two weeks in the summer. Taking a ladder and a tent with him, but regularly forgetting to bring the original copy of the poem, he carved it from memory. Sources vary as to whether the carving took place in 1844 or between 1844 and 1845.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: Focus on The Poem Tree and explain the Inspiration and interpretation.

The poem was inspired by Tubb's fondness of the surrounding landscape, which is described in the first half of the first stanza. It has been suggested that the poem, which is also a summary of the location's history, was an example of Tubb's repressed creativity—his ambition was to be a wood carver, but he was pressured into being a maltster through family tradition. The "ancient earthwork" at "Mercia's bounds" may be Grim's Ditch or The Ridgeway (the latter is formed by part of Grim's Ditch). At the time of Alfred the Great, the border between Mercia and Wessex ran roughly in a line from east to west through the region. The mention of Cwichelm's (or Culchelm's) grave refers to Scutchamer Knob, a barrow on The Ridgeway near Grim's Ditch, approximately 8.5 miles (13.7 km) south-west of the Poem Tree.  The barrow was originally known as Cwichelmeshlaew or Cwichelm's Barrow, and is historically recorded as the site at which Cwichelm of Wessex was killed by Edwin of Northumbria in 636. Tubb's assertion that the barrow could be seen in the misty distance is plausible; the archaeologist Tim Allen suggests that on a clear day the Berkshire Downs can be viewed from the hills and vice versa.The "smooth waters" of the River Thames refers to the river running through Dorchester on Thames, where the "monastic pride" of the Augustinian Dorchester Abbey is mentioned.The disinterred coffins may refer to an 18th-century discovery of two skeletons at the summit of Round Hill. The slopes of the two hills were used for grazing, where excavations have revealed remains of buildings (including a possible Roman villa).

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: Explain the Inspiration and interpretation of this artwork, The Poem Tree.

The poem was inspired by Tubb's fondness of the surrounding landscape, which is described in the first half of the first stanza. It has been suggested that the poem, which is also a summary of the location's history, was an example of Tubb's repressed creativity—his ambition was to be a wood carver, but he was pressured into being a maltster through family tradition. The "ancient earthwork" at "Mercia's bounds" may be Grim's Ditch or The Ridgeway (the latter is formed by part of Grim's Ditch). At the time of Alfred the Great, the border between Mercia and Wessex ran roughly in a line from east to west through the region. The mention of Cwichelm's (or Culchelm's) grave refers to Scutchamer Knob, a barrow on The Ridgeway near Grim's Ditch, approximately 8.5 miles (13.7 km) south-west of the Poem Tree.  The barrow was originally known as Cwichelmeshlaew or Cwichelm's Barrow, and is historically recorded as the site at which Cwichelm of Wessex was killed by Edwin of Northumbria in 636. Tubb's assertion that the barrow could be seen in the misty distance is plausible; the archaeologist Tim Allen suggests that on a clear day the Berkshire Downs can be viewed from the hills and vice versa.The "smooth waters" of the River Thames refers to the river running through Dorchester on Thames, where the "monastic pride" of the Augustinian Dorchester Abbey is mentioned.The disinterred coffins may refer to an 18th-century discovery of two skeletons at the summit of Round Hill. The slopes of the two hills were used for grazing, where excavations have revealed remains of buildings (including a possible Roman villa).

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: How does The Poem Tree explain its Inspiration and interpretation?

The poem was inspired by Tubb's fondness of the surrounding landscape, which is described in the first half of the first stanza. It has been suggested that the poem, which is also a summary of the location's history, was an example of Tubb's repressed creativity—his ambition was to be a wood carver, but he was pressured into being a maltster through family tradition. The "ancient earthwork" at "Mercia's bounds" may be Grim's Ditch or The Ridgeway (the latter is formed by part of Grim's Ditch). At the time of Alfred the Great, the border between Mercia and Wessex ran roughly in a line from east to west through the region. The mention of Cwichelm's (or Culchelm's) grave refers to Scutchamer Knob, a barrow on The Ridgeway near Grim's Ditch, approximately 8.5 miles (13.7 km) south-west of the Poem Tree.  The barrow was originally known as Cwichelmeshlaew or Cwichelm's Barrow, and is historically recorded as the site at which Cwichelm of Wessex was killed by Edwin of Northumbria in 636. Tubb's assertion that the barrow could be seen in the misty distance is plausible; the archaeologist Tim Allen suggests that on a clear day the Berkshire Downs can be viewed from the hills and vice versa.The "smooth waters" of the River Thames refers to the river running through Dorchester on Thames, where the "monastic pride" of the Augustinian Dorchester Abbey is mentioned.The disinterred coffins may refer to an 18th-century discovery of two skeletons at the summit of Round Hill. The slopes of the two hills were used for grazing, where excavations have revealed remains of buildings (including a possible Roman villa).

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: In The Poem Tree, how is the Inspiration and interpretation discussed?

The poem was inspired by Tubb's fondness of the surrounding landscape, which is described in the first half of the first stanza. It has been suggested that the poem, which is also a summary of the location's history, was an example of Tubb's repressed creativity—his ambition was to be a wood carver, but he was pressured into being a maltster through family tradition. The "ancient earthwork" at "Mercia's bounds" may be Grim's Ditch or The Ridgeway (the latter is formed by part of Grim's Ditch). At the time of Alfred the Great, the border between Mercia and Wessex ran roughly in a line from east to west through the region. The mention of Cwichelm's (or Culchelm's) grave refers to Scutchamer Knob, a barrow on The Ridgeway near Grim's Ditch, approximately 8.5 miles (13.7 km) south-west of the Poem Tree.  The barrow was originally known as Cwichelmeshlaew or Cwichelm's Barrow, and is historically recorded as the site at which Cwichelm of Wessex was killed by Edwin of Northumbria in 636. Tubb's assertion that the barrow could be seen in the misty distance is plausible; the archaeologist Tim Allen suggests that on a clear day the Berkshire Downs can be viewed from the hills and vice versa.The "smooth waters" of the River Thames refers to the river running through Dorchester on Thames, where the "monastic pride" of the Augustinian Dorchester Abbey is mentioned.The disinterred coffins may refer to an 18th-century discovery of two skeletons at the summit of Round Hill. The slopes of the two hills were used for grazing, where excavations have revealed remains of buildings (including a possible Roman villa).

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: Focus on The Poem Tree and explain the Legacy.

In 1965, British geographer Henry Osmaston took a rubbing of the poem before it became largely illegible.In the 1980s, the health of the tree began to decline and it died in the early 1990s. By the time of its collapse in 2012, the poem had become difficult to read, the few legible letters having been distorted with the tree's growth.In 1994, a plaque and stone were placed nearby to commemorate 150 years since the carving. The plaque, which features a copy of Osmaston's 1965 tracing, is fixed to a large Sarsen stone.Following its collapse, a crane was used to help make the tree safe but the much decayed trunk disintegrated. A few days later, a tribute of flowers was left anonymously on the shattered trunk. The remains of the tree have been left in situ to form a natural habitat.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: Explain the Legacy of this artwork, The Poem Tree.

In 1965, British geographer Henry Osmaston took a rubbing of the poem before it became largely illegible.In the 1980s, the health of the tree began to decline and it died in the early 1990s. By the time of its collapse in 2012, the poem had become difficult to read, the few legible letters having been distorted with the tree's growth.In 1994, a plaque and stone were placed nearby to commemorate 150 years since the carving. The plaque, which features a copy of Osmaston's 1965 tracing, is fixed to a large Sarsen stone.Following its collapse, a crane was used to help make the tree safe but the much decayed trunk disintegrated. A few days later, a tribute of flowers was left anonymously on the shattered trunk. The remains of the tree have been left in situ to form a natural habitat.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: How does The Poem Tree explain its Legacy?

In 1965, British geographer Henry Osmaston took a rubbing of the poem before it became largely illegible.In the 1980s, the health of the tree began to decline and it died in the early 1990s. By the time of its collapse in 2012, the poem had become difficult to read, the few legible letters having been distorted with the tree's growth.In 1994, a plaque and stone were placed nearby to commemorate 150 years since the carving. The plaque, which features a copy of Osmaston's 1965 tracing, is fixed to a large Sarsen stone.Following its collapse, a crane was used to help make the tree safe but the much decayed trunk disintegrated. A few days later, a tribute of flowers was left anonymously on the shattered trunk. The remains of the tree have been left in situ to form a natural habitat.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


The Poem Tree

Prompt: In The Poem Tree, how is the Legacy discussed?

In 1965, British geographer Henry Osmaston took a rubbing of the poem before it became largely illegible.In the 1980s, the health of the tree began to decline and it died in the early 1990s. By the time of its collapse in 2012, the poem had become difficult to read, the few legible letters having been distorted with the tree's growth.In 1994, a plaque and stone were placed nearby to commemorate 150 years since the carving. The plaque, which features a copy of Osmaston's 1965 tracing, is fixed to a large Sarsen stone.Following its collapse, a crane was used to help make the tree safe but the much decayed trunk disintegrated. A few days later, a tribute of flowers was left anonymously on the shattered trunk. The remains of the tree have been left in situ to form a natural habitat.

A close-up of the carving. The word "land" (''The various changes that the land befell'') can be seen, below which the end of the word "country" (''Where the low bank the country wide surrounds'') is legible.

File:The Poem Tree (geograph 5409578).jpg


Apollo (Michelangelo)

Prompt: Focus on Apollo (Michelangelo) and explain the abstract.

Apollo, also known as Apollo-David, David-Apollo, or Apollino, is a 1.46 m unfinished marble sculpture by Michelangelo that dates from approximately 1530. It now stands in the Bargello museum in Florence.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: Explain the abstract of this artwork, Apollo (Michelangelo).

Apollo, also known as Apollo-David, David-Apollo, or Apollino, is a 1.46 m unfinished marble sculpture by Michelangelo that dates from approximately 1530. It now stands in the Bargello museum in Florence.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: How does Apollo (Michelangelo) explain its abstract?

Apollo, also known as Apollo-David, David-Apollo, or Apollino, is a 1.46 m unfinished marble sculpture by Michelangelo that dates from approximately 1530. It now stands in the Bargello museum in Florence.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: In Apollo (Michelangelo), how is the abstract discussed?

Apollo, also known as Apollo-David, David-Apollo, or Apollino, is a 1.46 m unfinished marble sculpture by Michelangelo that dates from approximately 1530. It now stands in the Bargello museum in Florence.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: Focus on Apollo (Michelangelo) and explain the History.

The statue had been commissioned for the private palace of Baccio Valori when the fierce governor was imposed on Florence by Clement VII after recovery of the city from a protracted siege. Work on the sculpture stopped shortly after Alessandro de' Medici was made duke and Michelangelo left the city. The sculpture then entered the collection of Duke Cosimo I. It was placed in his private quarters along with a "Bacchus" of Baccio Bandinelli, a work of Andrea Sansovino, and an old "Ganymede" that had been restored by Benvenuto Cellini.Hallmarks of his style and methods exist on the unfinished work that support the attribution of the statue to Michelangelo. The subject of the unfinished statue was never noted by Michelangelo, however, and contemporary historical sources disagree about the subject. According to Vasari it is an "Apollo", perhaps in the act of taking an arrow from a quiver. In the inventory of Cosimo I of 1553, however, it is identified as, "David", by whoever drew up the historic catalogue. Art critics therefore identify the sculpture as one or the other, or, by showing a hyphenated title, "Apollo-David" or "David-Apollo", to note the uncertainty. Factors favoring the identity as Apollo are: the body is stocky and mature, as Apollo often was portrayed, rather than the typical portrayal of a youthful David; no bow is represented in the carving and, no unfinished portion of the statue allows enough area for one.Conjecture exists that the sculptor had started the work as David, perhaps toward 1525, and later finished it as Apollo. There also are those who have attempted to identify the work as the lost Apollo Cupid (Valentinier, 1958), carved in 1537 by Jacopo Galli in Rome.When Cosimo came into possession of the collection containing the most important statues of Michelangelo (the Bacchus or the Genius of Victory), the Apollo-David was placed in the Boboli Gardens, where it decorated a long niche of its amphitheater. In 1824 the statue was transported to the Uffizi, and later placed into the collection at the Bargello. Now it is in the National Gallery of Art Museum, part of the Renaissance wing complete with European paintings and sculptures.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: Explain the History of this artwork, Apollo (Michelangelo).

The statue had been commissioned for the private palace of Baccio Valori when the fierce governor was imposed on Florence by Clement VII after recovery of the city from a protracted siege. Work on the sculpture stopped shortly after Alessandro de' Medici was made duke and Michelangelo left the city. The sculpture then entered the collection of Duke Cosimo I. It was placed in his private quarters along with a "Bacchus" of Baccio Bandinelli, a work of Andrea Sansovino, and an old "Ganymede" that had been restored by Benvenuto Cellini.Hallmarks of his style and methods exist on the unfinished work that support the attribution of the statue to Michelangelo. The subject of the unfinished statue was never noted by Michelangelo, however, and contemporary historical sources disagree about the subject. According to Vasari it is an "Apollo", perhaps in the act of taking an arrow from a quiver. In the inventory of Cosimo I of 1553, however, it is identified as, "David", by whoever drew up the historic catalogue. Art critics therefore identify the sculpture as one or the other, or, by showing a hyphenated title, "Apollo-David" or "David-Apollo", to note the uncertainty. Factors favoring the identity as Apollo are: the body is stocky and mature, as Apollo often was portrayed, rather than the typical portrayal of a youthful David; no bow is represented in the carving and, no unfinished portion of the statue allows enough area for one.Conjecture exists that the sculptor had started the work as David, perhaps toward 1525, and later finished it as Apollo. There also are those who have attempted to identify the work as the lost Apollo Cupid (Valentinier, 1958), carved in 1537 by Jacopo Galli in Rome.When Cosimo came into possession of the collection containing the most important statues of Michelangelo (the Bacchus or the Genius of Victory), the Apollo-David was placed in the Boboli Gardens, where it decorated a long niche of its amphitheater. In 1824 the statue was transported to the Uffizi, and later placed into the collection at the Bargello. Now it is in the National Gallery of Art Museum, part of the Renaissance wing complete with European paintings and sculptures.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: How does Apollo (Michelangelo) explain its History?

The statue had been commissioned for the private palace of Baccio Valori when the fierce governor was imposed on Florence by Clement VII after recovery of the city from a protracted siege. Work on the sculpture stopped shortly after Alessandro de' Medici was made duke and Michelangelo left the city. The sculpture then entered the collection of Duke Cosimo I. It was placed in his private quarters along with a "Bacchus" of Baccio Bandinelli, a work of Andrea Sansovino, and an old "Ganymede" that had been restored by Benvenuto Cellini.Hallmarks of his style and methods exist on the unfinished work that support the attribution of the statue to Michelangelo. The subject of the unfinished statue was never noted by Michelangelo, however, and contemporary historical sources disagree about the subject. According to Vasari it is an "Apollo", perhaps in the act of taking an arrow from a quiver. In the inventory of Cosimo I of 1553, however, it is identified as, "David", by whoever drew up the historic catalogue. Art critics therefore identify the sculpture as one or the other, or, by showing a hyphenated title, "Apollo-David" or "David-Apollo", to note the uncertainty. Factors favoring the identity as Apollo are: the body is stocky and mature, as Apollo often was portrayed, rather than the typical portrayal of a youthful David; no bow is represented in the carving and, no unfinished portion of the statue allows enough area for one.Conjecture exists that the sculptor had started the work as David, perhaps toward 1525, and later finished it as Apollo. There also are those who have attempted to identify the work as the lost Apollo Cupid (Valentinier, 1958), carved in 1537 by Jacopo Galli in Rome.When Cosimo came into possession of the collection containing the most important statues of Michelangelo (the Bacchus or the Genius of Victory), the Apollo-David was placed in the Boboli Gardens, where it decorated a long niche of its amphitheater. In 1824 the statue was transported to the Uffizi, and later placed into the collection at the Bargello. Now it is in the National Gallery of Art Museum, part of the Renaissance wing complete with European paintings and sculptures.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: In Apollo (Michelangelo), how is the History discussed?

The statue had been commissioned for the private palace of Baccio Valori when the fierce governor was imposed on Florence by Clement VII after recovery of the city from a protracted siege. Work on the sculpture stopped shortly after Alessandro de' Medici was made duke and Michelangelo left the city. The sculpture then entered the collection of Duke Cosimo I. It was placed in his private quarters along with a "Bacchus" of Baccio Bandinelli, a work of Andrea Sansovino, and an old "Ganymede" that had been restored by Benvenuto Cellini.Hallmarks of his style and methods exist on the unfinished work that support the attribution of the statue to Michelangelo. The subject of the unfinished statue was never noted by Michelangelo, however, and contemporary historical sources disagree about the subject. According to Vasari it is an "Apollo", perhaps in the act of taking an arrow from a quiver. In the inventory of Cosimo I of 1553, however, it is identified as, "David", by whoever drew up the historic catalogue. Art critics therefore identify the sculpture as one or the other, or, by showing a hyphenated title, "Apollo-David" or "David-Apollo", to note the uncertainty. Factors favoring the identity as Apollo are: the body is stocky and mature, as Apollo often was portrayed, rather than the typical portrayal of a youthful David; no bow is represented in the carving and, no unfinished portion of the statue allows enough area for one.Conjecture exists that the sculptor had started the work as David, perhaps toward 1525, and later finished it as Apollo. There also are those who have attempted to identify the work as the lost Apollo Cupid (Valentinier, 1958), carved in 1537 by Jacopo Galli in Rome.When Cosimo came into possession of the collection containing the most important statues of Michelangelo (the Bacchus or the Genius of Victory), the Apollo-David was placed in the Boboli Gardens, where it decorated a long niche of its amphitheater. In 1824 the statue was transported to the Uffizi, and later placed into the collection at the Bargello. Now it is in the National Gallery of Art Museum, part of the Renaissance wing complete with European paintings and sculptures.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: Focus on Apollo (Michelangelo) and explain the Description related to style and subject.

The work depicts a naked man and, apart from the enigmatic subject, the sculpture is made particularly  complex via the use of versus twist, which shows the body's contours in depth, multiplying the points of view. Arms and legs are set to play an effective correlation with some joints bent and the opposite being flat. For example, the left arm is bent and stretched the right, and the right leg is extended and the left is bent over an unfinished structure on the ground. Some declare that the structure was intended to become the head of Goliath. Behind the figure is a tree trunk, which essentially, is static and has a function of support for the whole statue. Another unfinished portion of the marble extends upward along its back from the waist.The strong movement of the head to the left is contrasted by the extreme straightness of the right arm (not shown in the photograph displayed to the right). From another angle (displayed), the left arm isolates the upper body from the lower, generating a characteristically dynamic effect that is taught to art students as creating, mannerism.If considered as a "David" rather than an "Apollo", the statue presents a striking difference from the more famous, athletic and youthful figure in the Piazza della Signoria by the same sculptor. Instead of displaying the potential force and inward wrath of the biblical hero, it reads as almost melancholy or remorseful for his bloody action against Goliath if that be his head, perhaps revealing all consequences of the action.Another interpretation is that the pose could express a veiled, but deep animosity by the sculptor against the conquerors of Florence, although work on the statue stopped with the change.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: Explain the Description related to style and subject of this artwork, Apollo (Michelangelo).

The work depicts a naked man and, apart from the enigmatic subject, the sculpture is made particularly  complex via the use of versus twist, which shows the body's contours in depth, multiplying the points of view. Arms and legs are set to play an effective correlation with some joints bent and the opposite being flat. For example, the left arm is bent and stretched the right, and the right leg is extended and the left is bent over an unfinished structure on the ground. Some declare that the structure was intended to become the head of Goliath. Behind the figure is a tree trunk, which essentially, is static and has a function of support for the whole statue. Another unfinished portion of the marble extends upward along its back from the waist.The strong movement of the head to the left is contrasted by the extreme straightness of the right arm (not shown in the photograph displayed to the right). From another angle (displayed), the left arm isolates the upper body from the lower, generating a characteristically dynamic effect that is taught to art students as creating, mannerism.If considered as a "David" rather than an "Apollo", the statue presents a striking difference from the more famous, athletic and youthful figure in the Piazza della Signoria by the same sculptor. Instead of displaying the potential force and inward wrath of the biblical hero, it reads as almost melancholy or remorseful for his bloody action against Goliath if that be his head, perhaps revealing all consequences of the action.Another interpretation is that the pose could express a veiled, but deep animosity by the sculptor against the conquerors of Florence, although work on the statue stopped with the change.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: How does Apollo (Michelangelo) explain its Description related to style and subject?

The work depicts a naked man and, apart from the enigmatic subject, the sculpture is made particularly  complex via the use of versus twist, which shows the body's contours in depth, multiplying the points of view. Arms and legs are set to play an effective correlation with some joints bent and the opposite being flat. For example, the left arm is bent and stretched the right, and the right leg is extended and the left is bent over an unfinished structure on the ground. Some declare that the structure was intended to become the head of Goliath. Behind the figure is a tree trunk, which essentially, is static and has a function of support for the whole statue. Another unfinished portion of the marble extends upward along its back from the waist.The strong movement of the head to the left is contrasted by the extreme straightness of the right arm (not shown in the photograph displayed to the right). From another angle (displayed), the left arm isolates the upper body from the lower, generating a characteristically dynamic effect that is taught to art students as creating, mannerism.If considered as a "David" rather than an "Apollo", the statue presents a striking difference from the more famous, athletic and youthful figure in the Piazza della Signoria by the same sculptor. Instead of displaying the potential force and inward wrath of the biblical hero, it reads as almost melancholy or remorseful for his bloody action against Goliath if that be his head, perhaps revealing all consequences of the action.Another interpretation is that the pose could express a veiled, but deep animosity by the sculptor against the conquerors of Florence, although work on the statue stopped with the change.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Apollo (Michelangelo)

Prompt: In Apollo (Michelangelo), how is the Description related to style and subject discussed?

The work depicts a naked man and, apart from the enigmatic subject, the sculpture is made particularly  complex via the use of versus twist, which shows the body's contours in depth, multiplying the points of view. Arms and legs are set to play an effective correlation with some joints bent and the opposite being flat. For example, the left arm is bent and stretched the right, and the right leg is extended and the left is bent over an unfinished structure on the ground. Some declare that the structure was intended to become the head of Goliath. Behind the figure is a tree trunk, which essentially, is static and has a function of support for the whole statue. Another unfinished portion of the marble extends upward along its back from the waist.The strong movement of the head to the left is contrasted by the extreme straightness of the right arm (not shown in the photograph displayed to the right). From another angle (displayed), the left arm isolates the upper body from the lower, generating a characteristically dynamic effect that is taught to art students as creating, mannerism.If considered as a "David" rather than an "Apollo", the statue presents a striking difference from the more famous, athletic and youthful figure in the Piazza della Signoria by the same sculptor. Instead of displaying the potential force and inward wrath of the biblical hero, it reads as almost melancholy or remorseful for his bloody action against Goliath if that be his head, perhaps revealing all consequences of the action.Another interpretation is that the pose could express a veiled, but deep animosity by the sculptor against the conquerors of Florence, although work on the statue stopped with the change.

File:Paolo Monti - Servizio fotografico (Firenze, 1981) - BEIC 6343357.jpg


Prompt: Focus on Christ and the Woman Taken in Adultery (Polenov) and explain the abstract.

Christ and the Woman Taken in Adultery (He That Is Without Sin?) (Russian: «Христо́с и гре́шница» («Кто без греха́?»)) is a large-format painting by the Russian artist Vasily Polenov (1844–1927), dated 1888. The painting is in the State Russian Museum in Saint Petersburg (Inventory Zh-4204). Measuring 325 × 611 cm, it depicts the story of Christ and the woman taken in adultery, described in the Gospel of John.The painting was conceived by the artist in the late 1860s, with the first sketches appearing in the early 1870s. Some fifteen years passed before the final version of the canvas was completed. While working on the painting, Polenov travelled to the Middle East (1881–1882) and Italy (1883–1884).The canvas was presented at the 15th Exhibition of the Society for Travelling Art Exhibitions (Peredvizhniki), which opened in Saint Petersburg on 25 February 1887. At the exhibition, the painting was purchased by Tsar Alexander III. The painting was then kept in the Winter Palace, and when the Russian Museum was founded, it became part of its collection in 1897.On the one hand, the painting is seen as an attempt at a realistic interpretation of the image of Christ and the Gospel story. On the other hand, art historians have also identified the influence of late academicism on the painting, noting that among the attempts to revive large-format academic historical painting, "Polenov's painting is the most significant and serious".

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: Explain the abstract of this artwork, Christ and the Woman Taken in Adultery (Polenov).

Christ and the Woman Taken in Adultery (He That Is Without Sin?) (Russian: «Христо́с и гре́шница» («Кто без греха́?»)) is a large-format painting by the Russian artist Vasily Polenov (1844–1927), dated 1888. The painting is in the State Russian Museum in Saint Petersburg (Inventory Zh-4204). Measuring 325 × 611 cm, it depicts the story of Christ and the woman taken in adultery, described in the Gospel of John.The painting was conceived by the artist in the late 1860s, with the first sketches appearing in the early 1870s. Some fifteen years passed before the final version of the canvas was completed. While working on the painting, Polenov travelled to the Middle East (1881–1882) and Italy (1883–1884).The canvas was presented at the 15th Exhibition of the Society for Travelling Art Exhibitions (Peredvizhniki), which opened in Saint Petersburg on 25 February 1887. At the exhibition, the painting was purchased by Tsar Alexander III. The painting was then kept in the Winter Palace, and when the Russian Museum was founded, it became part of its collection in 1897.On the one hand, the painting is seen as an attempt at a realistic interpretation of the image of Christ and the Gospel story. On the other hand, art historians have also identified the influence of late academicism on the painting, noting that among the attempts to revive large-format academic historical painting, "Polenov's painting is the most significant and serious".

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: How does Christ and the Woman Taken in Adultery (Polenov) explain its abstract?

Christ and the Woman Taken in Adultery (He That Is Without Sin?) (Russian: «Христо́с и гре́шница» («Кто без греха́?»)) is a large-format painting by the Russian artist Vasily Polenov (1844–1927), dated 1888. The painting is in the State Russian Museum in Saint Petersburg (Inventory Zh-4204). Measuring 325 × 611 cm, it depicts the story of Christ and the woman taken in adultery, described in the Gospel of John.The painting was conceived by the artist in the late 1860s, with the first sketches appearing in the early 1870s. Some fifteen years passed before the final version of the canvas was completed. While working on the painting, Polenov travelled to the Middle East (1881–1882) and Italy (1883–1884).The canvas was presented at the 15th Exhibition of the Society for Travelling Art Exhibitions (Peredvizhniki), which opened in Saint Petersburg on 25 February 1887. At the exhibition, the painting was purchased by Tsar Alexander III. The painting was then kept in the Winter Palace, and when the Russian Museum was founded, it became part of its collection in 1897.On the one hand, the painting is seen as an attempt at a realistic interpretation of the image of Christ and the Gospel story. On the other hand, art historians have also identified the influence of late academicism on the painting, noting that among the attempts to revive large-format academic historical painting, "Polenov's painting is the most significant and serious".

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: In Christ and the Woman Taken in Adultery (Polenov), how is the abstract discussed?

Christ and the Woman Taken in Adultery (He That Is Without Sin?) (Russian: «Христо́с и гре́шница» («Кто без греха́?»)) is a large-format painting by the Russian artist Vasily Polenov (1844–1927), dated 1888. The painting is in the State Russian Museum in Saint Petersburg (Inventory Zh-4204). Measuring 325 × 611 cm, it depicts the story of Christ and the woman taken in adultery, described in the Gospel of John.The painting was conceived by the artist in the late 1860s, with the first sketches appearing in the early 1870s. Some fifteen years passed before the final version of the canvas was completed. While working on the painting, Polenov travelled to the Middle East (1881–1882) and Italy (1883–1884).The canvas was presented at the 15th Exhibition of the Society for Travelling Art Exhibitions (Peredvizhniki), which opened in Saint Petersburg on 25 February 1887. At the exhibition, the painting was purchased by Tsar Alexander III. The painting was then kept in the Winter Palace, and when the Russian Museum was founded, it became part of its collection in 1897.On the one hand, the painting is seen as an attempt at a realistic interpretation of the image of Christ and the Gospel story. On the other hand, art historians have also identified the influence of late academicism on the painting, noting that among the attempts to revive large-format academic historical painting, "Polenov's painting is the most significant and serious".

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: In the context of Christ and the Woman Taken in Adultery (Polenov), explain the Conception and work on the painting and the History.

The concept for the future canvas, entitled Christ and the Woman Taken in Adultery, was first conceived in 1868, influenced by Alexander Andreyevich Ivanov's painting The Appearance of Christ Before the People. Polenov set himself the task of creating "Christ not only coming, but already in the world, making his way among the people". The book The Life of Jesus by the French philosopher and writer Ernest Renan, which emphasised the human nature of Christ, had a significant influence on the interpretation of the subject. By the time work on the painting began, Russian painting had already produced such famous canvases on Gospel themes as the Last Supper by Nikolai Ge and Christ in the Desert by Ivan Kramskoi.The initial sketches and studies for the painting were created in the 1870s. Of these, two are particularly noteworthy – the 1873 sketch, which aligns with the original concept of the painting, and the 1876 sketch, which is closer to the final composition of the canvas. After that, work on the painting came to a standstill, but in 1881, when the artist's sister Vera Dmitrievna Polenova (the twin of Vasily Polenov) was dying, she made her brother promise to resume work on the painting and also asked that the canvas be large. By then, Polenov had become quite successful in the genre of landscape painting, but, fulfilling the promise to his sister, he returned to historical painting.In 1881–1882, Polenov undertook a journey to the Middle East, which was largely associated with the work on Christ and the Woman Taken in Adultery. He travelled to Constantinople, Alexandria, Cairo, and Aswan, visited Palestine and Syria, and also stopped by Greece. Polenov's travelling companions were the linguist and archaeologist Semyon Abamelek-Lazarev and the art historian Adrian Prakhov. The trip provided Polenov with a substantial corpus of observations pertaining to the nature and architecture of Palestine, as well as the appearance and customs of its population. The artist subsequently employed these techniques to achieve greater realism in his depictions of the Gospel narrative. However, the outcomes of the journey did not significantly advance Polenov's progress towards the realization of his intended painting of Christ and the Woman Taken in Adultery, as he devoted minimal time to making sketches and studies during the expedition.In the spring of 1883, already a teacher at the Moscow School of Painting, Sculpture and Architecture, Polenov finally began work on a large painting. However, it became evident that the material collected during his trip to the Middle East was insufficient for the task at hand. While he had landscape sketches and architectural sketches, he lacked sufficient images of people. To address this deficiency, Polenov took a year's leave from his academic position and, accompanied by his wife, Natalia Vasilyevna, departed for Rome at the end of October 1883. Their itinerary included visits to Vienna, Venice, and Florence. Consequently, in the 1883–1884 period, Polenov continued his work on the painting in Rome. He proceeded to refine the sketches and also produced images of Italian Jews. In a letter to his sister Elena Dmitrievna, Natalia Vasilievna described the Roman period of Polenov's activity: "He works very much, but whether he is successful or not is again terribly difficult to say; it seems to me that he looks for too much and too little in his work, and it is terribly tiring." She reported that Polenov drew one or two sketches from nature every day, and said that she "would be calmer at heart if the sketches were half as many and more in content". In April 1884, Polenov was visited in Rome by the businessman and patron Savva Mamontov, with whom the artist was well acquainted from the Abramtsevsky Circle. According to Natalia Vasilyevna, "Savva treated his work very kindly and examined his sketches sincerely and not empty-handedly", which "gave Vasily new zeal".In May 1884, the Polenovs returned to Russia from Italy. In the summer of 1885, the artist worked at the Menshovo estate near Podolsk, where he created a full-length sketch for Christ and the Woman Taken in Adultery, executed in charcoal on canvas. The final version of the painting was completed by Polenov in 1886–1887 in Savva Mamontov's study within his residence on Sadovaya-Spasskaya Street in Moscow. In addition to his immediate family and Savva Mamontov, Polenov consulted with the artists Konstantin Korovin and Viktor Vasnetsov, as well as the physiologist Pyotr Spiro, during the painting process.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: Explain the Conception and work on the painting about the History of this artwork, Christ and the Woman Taken in Adultery (Polenov).

The concept for the future canvas, entitled Christ and the Woman Taken in Adultery, was first conceived in 1868, influenced by Alexander Andreyevich Ivanov's painting The Appearance of Christ Before the People. Polenov set himself the task of creating "Christ not only coming, but already in the world, making his way among the people". The book The Life of Jesus by the French philosopher and writer Ernest Renan, which emphasised the human nature of Christ, had a significant influence on the interpretation of the subject. By the time work on the painting began, Russian painting had already produced such famous canvases on Gospel themes as the Last Supper by Nikolai Ge and Christ in the Desert by Ivan Kramskoi.The initial sketches and studies for the painting were created in the 1870s. Of these, two are particularly noteworthy – the 1873 sketch, which aligns with the original concept of the painting, and the 1876 sketch, which is closer to the final composition of the canvas. After that, work on the painting came to a standstill, but in 1881, when the artist's sister Vera Dmitrievna Polenova (the twin of Vasily Polenov) was dying, she made her brother promise to resume work on the painting and also asked that the canvas be large. By then, Polenov had become quite successful in the genre of landscape painting, but, fulfilling the promise to his sister, he returned to historical painting.In 1881–1882, Polenov undertook a journey to the Middle East, which was largely associated with the work on Christ and the Woman Taken in Adultery. He travelled to Constantinople, Alexandria, Cairo, and Aswan, visited Palestine and Syria, and also stopped by Greece. Polenov's travelling companions were the linguist and archaeologist Semyon Abamelek-Lazarev and the art historian Adrian Prakhov. The trip provided Polenov with a substantial corpus of observations pertaining to the nature and architecture of Palestine, as well as the appearance and customs of its population. The artist subsequently employed these techniques to achieve greater realism in his depictions of the Gospel narrative. However, the outcomes of the journey did not significantly advance Polenov's progress towards the realization of his intended painting of Christ and the Woman Taken in Adultery, as he devoted minimal time to making sketches and studies during the expedition.In the spring of 1883, already a teacher at the Moscow School of Painting, Sculpture and Architecture, Polenov finally began work on a large painting. However, it became evident that the material collected during his trip to the Middle East was insufficient for the task at hand. While he had landscape sketches and architectural sketches, he lacked sufficient images of people. To address this deficiency, Polenov took a year's leave from his academic position and, accompanied by his wife, Natalia Vasilyevna, departed for Rome at the end of October 1883. Their itinerary included visits to Vienna, Venice, and Florence. Consequently, in the 1883–1884 period, Polenov continued his work on the painting in Rome. He proceeded to refine the sketches and also produced images of Italian Jews. In a letter to his sister Elena Dmitrievna, Natalia Vasilievna described the Roman period of Polenov's activity: "He works very much, but whether he is successful or not is again terribly difficult to say; it seems to me that he looks for too much and too little in his work, and it is terribly tiring." She reported that Polenov drew one or two sketches from nature every day, and said that she "would be calmer at heart if the sketches were half as many and more in content". In April 1884, Polenov was visited in Rome by the businessman and patron Savva Mamontov, with whom the artist was well acquainted from the Abramtsevsky Circle. According to Natalia Vasilyevna, "Savva treated his work very kindly and examined his sketches sincerely and not empty-handedly", which "gave Vasily new zeal".In May 1884, the Polenovs returned to Russia from Italy. In the summer of 1885, the artist worked at the Menshovo estate near Podolsk, where he created a full-length sketch for Christ and the Woman Taken in Adultery, executed in charcoal on canvas. The final version of the painting was completed by Polenov in 1886–1887 in Savva Mamontov's study within his residence on Sadovaya-Spasskaya Street in Moscow. In addition to his immediate family and Savva Mamontov, Polenov consulted with the artists Konstantin Korovin and Viktor Vasnetsov, as well as the physiologist Pyotr Spiro, during the painting process.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: In Christ and the Woman Taken in Adultery (Polenov), how is the Conception and work on the painting of the History explained?

The concept for the future canvas, entitled Christ and the Woman Taken in Adultery, was first conceived in 1868, influenced by Alexander Andreyevich Ivanov's painting The Appearance of Christ Before the People. Polenov set himself the task of creating "Christ not only coming, but already in the world, making his way among the people". The book The Life of Jesus by the French philosopher and writer Ernest Renan, which emphasised the human nature of Christ, had a significant influence on the interpretation of the subject. By the time work on the painting began, Russian painting had already produced such famous canvases on Gospel themes as the Last Supper by Nikolai Ge and Christ in the Desert by Ivan Kramskoi.The initial sketches and studies for the painting were created in the 1870s. Of these, two are particularly noteworthy – the 1873 sketch, which aligns with the original concept of the painting, and the 1876 sketch, which is closer to the final composition of the canvas. After that, work on the painting came to a standstill, but in 1881, when the artist's sister Vera Dmitrievna Polenova (the twin of Vasily Polenov) was dying, she made her brother promise to resume work on the painting and also asked that the canvas be large. By then, Polenov had become quite successful in the genre of landscape painting, but, fulfilling the promise to his sister, he returned to historical painting.In 1881–1882, Polenov undertook a journey to the Middle East, which was largely associated with the work on Christ and the Woman Taken in Adultery. He travelled to Constantinople, Alexandria, Cairo, and Aswan, visited Palestine and Syria, and also stopped by Greece. Polenov's travelling companions were the linguist and archaeologist Semyon Abamelek-Lazarev and the art historian Adrian Prakhov. The trip provided Polenov with a substantial corpus of observations pertaining to the nature and architecture of Palestine, as well as the appearance and customs of its population. The artist subsequently employed these techniques to achieve greater realism in his depictions of the Gospel narrative. However, the outcomes of the journey did not significantly advance Polenov's progress towards the realization of his intended painting of Christ and the Woman Taken in Adultery, as he devoted minimal time to making sketches and studies during the expedition.In the spring of 1883, already a teacher at the Moscow School of Painting, Sculpture and Architecture, Polenov finally began work on a large painting. However, it became evident that the material collected during his trip to the Middle East was insufficient for the task at hand. While he had landscape sketches and architectural sketches, he lacked sufficient images of people. To address this deficiency, Polenov took a year's leave from his academic position and, accompanied by his wife, Natalia Vasilyevna, departed for Rome at the end of October 1883. Their itinerary included visits to Vienna, Venice, and Florence. Consequently, in the 1883–1884 period, Polenov continued his work on the painting in Rome. He proceeded to refine the sketches and also produced images of Italian Jews. In a letter to his sister Elena Dmitrievna, Natalia Vasilievna described the Roman period of Polenov's activity: "He works very much, but whether he is successful or not is again terribly difficult to say; it seems to me that he looks for too much and too little in his work, and it is terribly tiring." She reported that Polenov drew one or two sketches from nature every day, and said that she "would be calmer at heart if the sketches were half as many and more in content". In April 1884, Polenov was visited in Rome by the businessman and patron Savva Mamontov, with whom the artist was well acquainted from the Abramtsevsky Circle. According to Natalia Vasilyevna, "Savva treated his work very kindly and examined his sketches sincerely and not empty-handedly", which "gave Vasily new zeal".In May 1884, the Polenovs returned to Russia from Italy. In the summer of 1885, the artist worked at the Menshovo estate near Podolsk, where he created a full-length sketch for Christ and the Woman Taken in Adultery, executed in charcoal on canvas. The final version of the painting was completed by Polenov in 1886–1887 in Savva Mamontov's study within his residence on Sadovaya-Spasskaya Street in Moscow. In addition to his immediate family and Savva Mamontov, Polenov consulted with the artists Konstantin Korovin and Viktor Vasnetsov, as well as the physiologist Pyotr Spiro, during the painting process.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery