Three-Bodied Daemon (ACMA 35)

Prompt: Explain the Restoration of this artwork, Three-Bodied Daemon (ACMA 35).

The first two human heads of Typhon from the left are not carved from the same piece of limestone as the rest of the massive body but from other pieces. His third head was similarly inlaid, but because the upper part of the body was destroyed and filled in with plaster, it is unclear whether the head belongs to this body or to different but similar one. Other parts were similarly added, like part of the right wing, for the fastening of which three holes were opened in a line, or the forearm of the Zeus figure, so that now it has a smooth cross-sectional surface, but without holes with infused lead. To fix them, holes (as seen in the arm and shoulders of the monster) were made, 6-7 millimeters wide, in order to preserve the lead. Two of them, certainly belonging to this group, are located on the right forearm of the middle body.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: How does Three-Bodied Daemon (ACMA 35) explain its Restoration?

The first two human heads of Typhon from the left are not carved from the same piece of limestone as the rest of the massive body but from other pieces. His third head was similarly inlaid, but because the upper part of the body was destroyed and filled in with plaster, it is unclear whether the head belongs to this body or to different but similar one. Other parts were similarly added, like part of the right wing, for the fastening of which three holes were opened in a line, or the forearm of the Zeus figure, so that now it has a smooth cross-sectional surface, but without holes with infused lead. To fix them, holes (as seen in the arm and shoulders of the monster) were made, 6-7 millimeters wide, in order to preserve the lead. Two of them, certainly belonging to this group, are located on the right forearm of the middle body.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: In Three-Bodied Daemon (ACMA 35), how is the Restoration discussed?

The first two human heads of Typhon from the left are not carved from the same piece of limestone as the rest of the massive body but from other pieces. His third head was similarly inlaid, but because the upper part of the body was destroyed and filled in with plaster, it is unclear whether the head belongs to this body or to different but similar one. Other parts were similarly added, like part of the right wing, for the fastening of which three holes were opened in a line, or the forearm of the Zeus figure, so that now it has a smooth cross-sectional surface, but without holes with infused lead. To fix them, holes (as seen in the arm and shoulders of the monster) were made, 6-7 millimeters wide, in order to preserve the lead. Two of them, certainly belonging to this group, are located on the right forearm of the middle body.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: Focus on Three-Bodied Daemon (ACMA 35) and explain the Identity of the man.

It is not clear which mythological character the sculpture represents. It has been suggested that it could be the shapeshifting sea-god Nereus, or the serpentine monster Typhon, who once attacked the Olympians. If it is Typhon, then the red-clad figure to his right must be Zeus, the god who defeated him. It was assumed to be Typhon due to the analogy with a red-figure base, but as it has been pointed out, the vase depicts a single-bodied individual, and his benignant expression has no parallel with the battle scene depicted on the vase. The Athenian playwright Euripides in his tragedy Heracles does however describe Typhon as having three bodies.Furtwangler suggested that the figure is supposed to be the Tritopatores, whom he took to be benevolent wind deities connected to childbirth, based on the tri- ("three") prefix of their name. However there is no evidence that the Tritopatores were depicted as three bodies with a single tail, and were rather three separate beings.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: Explain the Identity of the man of this artwork, Three-Bodied Daemon (ACMA 35).

It is not clear which mythological character the sculpture represents. It has been suggested that it could be the shapeshifting sea-god Nereus, or the serpentine monster Typhon, who once attacked the Olympians. If it is Typhon, then the red-clad figure to his right must be Zeus, the god who defeated him. It was assumed to be Typhon due to the analogy with a red-figure base, but as it has been pointed out, the vase depicts a single-bodied individual, and his benignant expression has no parallel with the battle scene depicted on the vase. The Athenian playwright Euripides in his tragedy Heracles does however describe Typhon as having three bodies.Furtwangler suggested that the figure is supposed to be the Tritopatores, whom he took to be benevolent wind deities connected to childbirth, based on the tri- ("three") prefix of their name. However there is no evidence that the Tritopatores were depicted as three bodies with a single tail, and were rather three separate beings.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: How does Three-Bodied Daemon (ACMA 35) explain its Identity of the man?

It is not clear which mythological character the sculpture represents. It has been suggested that it could be the shapeshifting sea-god Nereus, or the serpentine monster Typhon, who once attacked the Olympians. If it is Typhon, then the red-clad figure to his right must be Zeus, the god who defeated him. It was assumed to be Typhon due to the analogy with a red-figure base, but as it has been pointed out, the vase depicts a single-bodied individual, and his benignant expression has no parallel with the battle scene depicted on the vase. The Athenian playwright Euripides in his tragedy Heracles does however describe Typhon as having three bodies.Furtwangler suggested that the figure is supposed to be the Tritopatores, whom he took to be benevolent wind deities connected to childbirth, based on the tri- ("three") prefix of their name. However there is no evidence that the Tritopatores were depicted as three bodies with a single tail, and were rather three separate beings.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Three-Bodied Daemon (ACMA 35)

Prompt: In Three-Bodied Daemon (ACMA 35), how is the Identity of the man discussed?

It is not clear which mythological character the sculpture represents. It has been suggested that it could be the shapeshifting sea-god Nereus, or the serpentine monster Typhon, who once attacked the Olympians. If it is Typhon, then the red-clad figure to his right must be Zeus, the god who defeated him. It was assumed to be Typhon due to the analogy with a red-figure base, but as it has been pointed out, the vase depicts a single-bodied individual, and his benignant expression has no parallel with the battle scene depicted on the vase. The Athenian playwright Euripides in his tragedy Heracles does however describe Typhon as having three bodies.Furtwangler suggested that the figure is supposed to be the Tritopatores, whom he took to be benevolent wind deities connected to childbirth, based on the tri- ("three") prefix of their name. However there is no evidence that the Tritopatores were depicted as three bodies with a single tail, and were rather three separate beings.

Category:6th-century BC Greek sculptures

File:Tail of the Triple-Bodied Monster on the west pediment of the Old Temple of Athena.jpg

Category:Archaeological discoveries in Attica


Olympics (Basquiat and Warhol)

Prompt: Focus on Olympics (Basquiat and Warhol) and explain the abstract.

Olympics is a painting created by American artists Jean-Michel Basquiat and Andy Warhol in 1984. The artwork was a commemoration of the 1984 Summer Olympics. It sold for $10.5 million at Phillips's Contemporary Art Evening Sale in June 2012, which at the time was a record high for a Warhol-Basquiat collaboration. It is the second most expensive Warhol-Basquiat collaboration sold at auction after Zenith (1985).

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: Explain the abstract of this artwork, Olympics (Basquiat and Warhol).

Olympics is a painting created by American artists Jean-Michel Basquiat and Andy Warhol in 1984. The artwork was a commemoration of the 1984 Summer Olympics. It sold for $10.5 million at Phillips's Contemporary Art Evening Sale in June 2012, which at the time was a record high for a Warhol-Basquiat collaboration. It is the second most expensive Warhol-Basquiat collaboration sold at auction after Zenith (1985).

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: How does Olympics (Basquiat and Warhol) explain its abstract?

Olympics is a painting created by American artists Jean-Michel Basquiat and Andy Warhol in 1984. The artwork was a commemoration of the 1984 Summer Olympics. It sold for $10.5 million at Phillips's Contemporary Art Evening Sale in June 2012, which at the time was a record high for a Warhol-Basquiat collaboration. It is the second most expensive Warhol-Basquiat collaboration sold at auction after Zenith (1985).

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: In Olympics (Basquiat and Warhol), how is the abstract discussed?

Olympics is a painting created by American artists Jean-Michel Basquiat and Andy Warhol in 1984. The artwork was a commemoration of the 1984 Summer Olympics. It sold for $10.5 million at Phillips's Contemporary Art Evening Sale in June 2012, which at the time was a record high for a Warhol-Basquiat collaboration. It is the second most expensive Warhol-Basquiat collaboration sold at auction after Zenith (1985).

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: Focus on Olympics (Basquiat and Warhol) and explain the Background.

Andy Warhol rose to prominence as the leading artist of the 1960s Pop art movement. He ventured into a variety of art forms, including filmmaking, photography, and writing. Controversially blurring the lines between fine art and mainstream aesthetics made him the most famous artist America had ever produced, but by the late 1970s his popularity had waned. He had a resurgence of success in the 1980s, partially due to his affiliation with a number of prolific younger artists, who were dominating the 1980s New York art scene.Jean-Michel Basquiat started out as a street artist under the moniker SAMO. He also ventured into music, forming the experimental band Gray. In 1979, he began creating sculptures, mixed media works, and selling clothes that he painted on. Basquiat idolized Warhol and was ecstatic when he sold him a postcard at a restaurant in 1979. They were later formally introduced by Swiss art dealer Bruno Bischofberger in October 1982. By that time, Basquiat had become a sensation in the art world for his neo-expressionist paintings. Upon meeting, Warhol took polaroid photos of Basquiat, and Basquiat made Warhol a portrait titled Dos Cabezas (1982). They soon became close friends and began collaborating on paintings together. The collaborations began in 1983 when Bischofberger decided to commission work from three of his artists: Warhol, Basquiat and Italian artist Francesco Clemente. Eventually it became a two-way collaboration between Warhol and Basquiat in 1984. After many years of silkscreen and oxidation, Warhol returned to painting with a brush in hand in a series of large collaborative works with Basquiat over a span of two years. Their relationship became increasingly strained, culminating in September 1985, when their joint exhibit Warhol and Basquiat: Paintings opened at the Tony Shafrazi Gallery in SoHo to mostly negative reviews. Basquiat was upset when he was called Warhol's accessory. When Warhol died following gallbladder surgery in 1987, Basquiat was swamped by grief and guilt. He died the following year from a heroin overdose.

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: Explain the Background of this artwork, Olympics (Basquiat and Warhol).

Andy Warhol rose to prominence as the leading artist of the 1960s Pop art movement. He ventured into a variety of art forms, including filmmaking, photography, and writing. Controversially blurring the lines between fine art and mainstream aesthetics made him the most famous artist America had ever produced, but by the late 1970s his popularity had waned. He had a resurgence of success in the 1980s, partially due to his affiliation with a number of prolific younger artists, who were dominating the 1980s New York art scene.Jean-Michel Basquiat started out as a street artist under the moniker SAMO. He also ventured into music, forming the experimental band Gray. In 1979, he began creating sculptures, mixed media works, and selling clothes that he painted on. Basquiat idolized Warhol and was ecstatic when he sold him a postcard at a restaurant in 1979. They were later formally introduced by Swiss art dealer Bruno Bischofberger in October 1982. By that time, Basquiat had become a sensation in the art world for his neo-expressionist paintings. Upon meeting, Warhol took polaroid photos of Basquiat, and Basquiat made Warhol a portrait titled Dos Cabezas (1982). They soon became close friends and began collaborating on paintings together. The collaborations began in 1983 when Bischofberger decided to commission work from three of his artists: Warhol, Basquiat and Italian artist Francesco Clemente. Eventually it became a two-way collaboration between Warhol and Basquiat in 1984. After many years of silkscreen and oxidation, Warhol returned to painting with a brush in hand in a series of large collaborative works with Basquiat over a span of two years. Their relationship became increasingly strained, culminating in September 1985, when their joint exhibit Warhol and Basquiat: Paintings opened at the Tony Shafrazi Gallery in SoHo to mostly negative reviews. Basquiat was upset when he was called Warhol's accessory. When Warhol died following gallbladder surgery in 1987, Basquiat was swamped by grief and guilt. He died the following year from a heroin overdose.

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: How does Olympics (Basquiat and Warhol) explain its Background?

Andy Warhol rose to prominence as the leading artist of the 1960s Pop art movement. He ventured into a variety of art forms, including filmmaking, photography, and writing. Controversially blurring the lines between fine art and mainstream aesthetics made him the most famous artist America had ever produced, but by the late 1970s his popularity had waned. He had a resurgence of success in the 1980s, partially due to his affiliation with a number of prolific younger artists, who were dominating the 1980s New York art scene.Jean-Michel Basquiat started out as a street artist under the moniker SAMO. He also ventured into music, forming the experimental band Gray. In 1979, he began creating sculptures, mixed media works, and selling clothes that he painted on. Basquiat idolized Warhol and was ecstatic when he sold him a postcard at a restaurant in 1979. They were later formally introduced by Swiss art dealer Bruno Bischofberger in October 1982. By that time, Basquiat had become a sensation in the art world for his neo-expressionist paintings. Upon meeting, Warhol took polaroid photos of Basquiat, and Basquiat made Warhol a portrait titled Dos Cabezas (1982). They soon became close friends and began collaborating on paintings together. The collaborations began in 1983 when Bischofberger decided to commission work from three of his artists: Warhol, Basquiat and Italian artist Francesco Clemente. Eventually it became a two-way collaboration between Warhol and Basquiat in 1984. After many years of silkscreen and oxidation, Warhol returned to painting with a brush in hand in a series of large collaborative works with Basquiat over a span of two years. Their relationship became increasingly strained, culminating in September 1985, when their joint exhibit Warhol and Basquiat: Paintings opened at the Tony Shafrazi Gallery in SoHo to mostly negative reviews. Basquiat was upset when he was called Warhol's accessory. When Warhol died following gallbladder surgery in 1987, Basquiat was swamped by grief and guilt. He died the following year from a heroin overdose.

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: In Olympics (Basquiat and Warhol), how is the Background discussed?

Andy Warhol rose to prominence as the leading artist of the 1960s Pop art movement. He ventured into a variety of art forms, including filmmaking, photography, and writing. Controversially blurring the lines between fine art and mainstream aesthetics made him the most famous artist America had ever produced, but by the late 1970s his popularity had waned. He had a resurgence of success in the 1980s, partially due to his affiliation with a number of prolific younger artists, who were dominating the 1980s New York art scene.Jean-Michel Basquiat started out as a street artist under the moniker SAMO. He also ventured into music, forming the experimental band Gray. In 1979, he began creating sculptures, mixed media works, and selling clothes that he painted on. Basquiat idolized Warhol and was ecstatic when he sold him a postcard at a restaurant in 1979. They were later formally introduced by Swiss art dealer Bruno Bischofberger in October 1982. By that time, Basquiat had become a sensation in the art world for his neo-expressionist paintings. Upon meeting, Warhol took polaroid photos of Basquiat, and Basquiat made Warhol a portrait titled Dos Cabezas (1982). They soon became close friends and began collaborating on paintings together. The collaborations began in 1983 when Bischofberger decided to commission work from three of his artists: Warhol, Basquiat and Italian artist Francesco Clemente. Eventually it became a two-way collaboration between Warhol and Basquiat in 1984. After many years of silkscreen and oxidation, Warhol returned to painting with a brush in hand in a series of large collaborative works with Basquiat over a span of two years. Their relationship became increasingly strained, culminating in September 1985, when their joint exhibit Warhol and Basquiat: Paintings opened at the Tony Shafrazi Gallery in SoHo to mostly negative reviews. Basquiat was upset when he was called Warhol's accessory. When Warhol died following gallbladder surgery in 1987, Basquiat was swamped by grief and guilt. He died the following year from a heroin overdose.

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: Focus on Olympics (Basquiat and Warhol) and explain the Analysis.

When they collaborated, Warhol usually started the process by providing the basis and then Basquiat would add his input. Basquiat recalled in his interview with Davis and Johnston: "[Warhol] would put something very concrete or recognizable, like a newspaper headline or a product logo, and then I would sort of deface it." Warhol made the five-ring Olympic symbols rendered in the original primary colors and Basquiat painted heads over it in his animated style.

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: Explain the Analysis of this artwork, Olympics (Basquiat and Warhol).

When they collaborated, Warhol usually started the process by providing the basis and then Basquiat would add his input. Basquiat recalled in his interview with Davis and Johnston: "[Warhol] would put something very concrete or recognizable, like a newspaper headline or a product logo, and then I would sort of deface it." Warhol made the five-ring Olympic symbols rendered in the original primary colors and Basquiat painted heads over it in his animated style.

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: How does Olympics (Basquiat and Warhol) explain its Analysis?

When they collaborated, Warhol usually started the process by providing the basis and then Basquiat would add his input. Basquiat recalled in his interview with Davis and Johnston: "[Warhol] would put something very concrete or recognizable, like a newspaper headline or a product logo, and then I would sort of deface it." Warhol made the five-ring Olympic symbols rendered in the original primary colors and Basquiat painted heads over it in his animated style.

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: In Olympics (Basquiat and Warhol), how is the Analysis discussed?

When they collaborated, Warhol usually started the process by providing the basis and then Basquiat would add his input. Basquiat recalled in his interview with Davis and Johnston: "[Warhol] would put something very concrete or recognizable, like a newspaper headline or a product logo, and then I would sort of deface it." Warhol made the five-ring Olympic symbols rendered in the original primary colors and Basquiat painted heads over it in his animated style.

Museo Nacional Centro de Arte Reina Sofía

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: Focus on Olympics (Basquiat and Warhol) and explain the Exhibitions.

Olympics has been exhibited at major art institutions worldwide, which include:Collaborations – Warhol/Basquiat/Clemente at Fridericianum in Kassel, Germany, February–May 1996; Villa Stuck in Munich, Germany, July–September 1996; Museo d'Arte Contemporanea, Castello di Rivoli, in Italy, October 1996–January 1997.Andy Warhol and His World at Louisiana Museum of Modern Art in Humlebæk, Denmark, April–July 2000.Warhol, Basquiat, Clemente: Obras En Colaboracion at Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain, February–April 2002.The Andy Warhol Show at Fondazione La Triennale di Milano in Italy, September 2004–January 2005.Ménage à trois: Warhol, Basquiat, Clemente at Bundeskunsthalle in Bonn, Germany, February–May 2012.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: Explain the Exhibitions of this artwork, Olympics (Basquiat and Warhol).

Olympics has been exhibited at major art institutions worldwide, which include:Collaborations – Warhol/Basquiat/Clemente at Fridericianum in Kassel, Germany, February–May 1996; Villa Stuck in Munich, Germany, July–September 1996; Museo d'Arte Contemporanea, Castello di Rivoli, in Italy, October 1996–January 1997.Andy Warhol and His World at Louisiana Museum of Modern Art in Humlebæk, Denmark, April–July 2000.Warhol, Basquiat, Clemente: Obras En Colaboracion at Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain, February–April 2002.The Andy Warhol Show at Fondazione La Triennale di Milano in Italy, September 2004–January 2005.Ménage à trois: Warhol, Basquiat, Clemente at Bundeskunsthalle in Bonn, Germany, February–May 2012.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: How does Olympics (Basquiat and Warhol) explain its Exhibitions?

Olympics has been exhibited at major art institutions worldwide, which include:Collaborations – Warhol/Basquiat/Clemente at Fridericianum in Kassel, Germany, February–May 1996; Villa Stuck in Munich, Germany, July–September 1996; Museo d'Arte Contemporanea, Castello di Rivoli, in Italy, October 1996–January 1997.Andy Warhol and His World at Louisiana Museum of Modern Art in Humlebæk, Denmark, April–July 2000.Warhol, Basquiat, Clemente: Obras En Colaboracion at Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain, February–April 2002.The Andy Warhol Show at Fondazione La Triennale di Milano in Italy, September 2004–January 2005.Ménage à trois: Warhol, Basquiat, Clemente at Bundeskunsthalle in Bonn, Germany, February–May 2012.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Olympics (Basquiat and Warhol)

Prompt: In Olympics (Basquiat and Warhol), how is the Exhibitions discussed?

Olympics has been exhibited at major art institutions worldwide, which include:Collaborations – Warhol/Basquiat/Clemente at Fridericianum in Kassel, Germany, February–May 1996; Villa Stuck in Munich, Germany, July–September 1996; Museo d'Arte Contemporanea, Castello di Rivoli, in Italy, October 1996–January 1997.Andy Warhol and His World at Louisiana Museum of Modern Art in Humlebæk, Denmark, April–July 2000.Warhol, Basquiat, Clemente: Obras En Colaboracion at Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain, February–April 2002.The Andy Warhol Show at Fondazione La Triennale di Milano in Italy, September 2004–January 2005.Ménage à trois: Warhol, Basquiat, Clemente at Bundeskunsthalle in Bonn, Germany, February–May 2012.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Castello di Rivoli#Museo d'Arte Contemporanea

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland


Statue of Philip Kearny

Prompt: Focus on Statue of Philip Kearny and explain the abstract.

Philip Kearny  is an 1888 bronze sculpture of Philip Kearny by Henry Kirke Brown, installed in the United States Capitol, in Washington, D.C., as part of the National Statuary Hall Collection.  It is one of two statues donated by the state of New Jersey.

Category:Bronze sculptures in Washington, D.C.

Category:Monuments and memorials in New Jersey

Category:Sculptures by Henry Kirke Brown

Category:Public art in Newark, New Jersey

Category:Monuments and memorials in Michigan

Statues of the National Statuary Hall Collection

List of public art in Newark, New Jersey

File:Philip Kearny by Henry Kirke Brown, Newark, NJ.jpg

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:1888 establishments in Washington, D.C.

Category:National Statuary Hall Collection

Category:Sculptures of men in New Jersey


Statue of Philip Kearny

Prompt: Explain the abstract of this artwork, Statue of Philip Kearny.

Philip Kearny  is an 1888 bronze sculpture of Philip Kearny by Henry Kirke Brown, installed in the United States Capitol, in Washington, D.C., as part of the National Statuary Hall Collection.  It is one of two statues donated by the state of New Jersey.

Category:Bronze sculptures in Washington, D.C.

Category:Monuments and memorials in New Jersey

Category:Sculptures by Henry Kirke Brown

Category:Public art in Newark, New Jersey

Category:Monuments and memorials in Michigan

Statues of the National Statuary Hall Collection

List of public art in Newark, New Jersey

File:Philip Kearny by Henry Kirke Brown, Newark, NJ.jpg

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:1888 establishments in Washington, D.C.

Category:National Statuary Hall Collection

Category:Sculptures of men in New Jersey


Statue of Philip Kearny

Prompt: How does Statue of Philip Kearny explain its abstract?

Philip Kearny  is an 1888 bronze sculpture of Philip Kearny by Henry Kirke Brown, installed in the United States Capitol, in Washington, D.C., as part of the National Statuary Hall Collection.  It is one of two statues donated by the state of New Jersey.

Category:Bronze sculptures in Washington, D.C.

Category:Monuments and memorials in New Jersey

Category:Sculptures by Henry Kirke Brown

Category:Public art in Newark, New Jersey

Category:Monuments and memorials in Michigan

Statues of the National Statuary Hall Collection

List of public art in Newark, New Jersey

File:Philip Kearny by Henry Kirke Brown, Newark, NJ.jpg

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:1888 establishments in Washington, D.C.

Category:National Statuary Hall Collection

Category:Sculptures of men in New Jersey


Statue of Philip Kearny

Prompt: In Statue of Philip Kearny, how is the abstract discussed?

Philip Kearny  is an 1888 bronze sculpture of Philip Kearny by Henry Kirke Brown, installed in the United States Capitol, in Washington, D.C., as part of the National Statuary Hall Collection.  It is one of two statues donated by the state of New Jersey.

Category:Bronze sculptures in Washington, D.C.

Category:Monuments and memorials in New Jersey

Category:Sculptures by Henry Kirke Brown

Category:Public art in Newark, New Jersey

Category:Monuments and memorials in Michigan

Statues of the National Statuary Hall Collection

List of public art in Newark, New Jersey

File:Philip Kearny by Henry Kirke Brown, Newark, NJ.jpg

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:1888 establishments in Washington, D.C.

Category:National Statuary Hall Collection

Category:Sculptures of men in New Jersey


Statue of Philip Kearny

Prompt: Focus on Statue of Philip Kearny and explain the Description and history.

The statue portrays Kearny dressed in the uniform of a Civil War general, holding a sword in his right hand.  His coat draped over his left shoulder covers the fact that his left arm had been amputated following the Battle of Churubusco.Although the statue entered the Hall in 1888 it is dated "1873" on the base. Kearny, described by William Walter Phelps while accepting the statue into the collection on August 21, 1888, called Kearny "the perfect soldier . . .brave as a lion, tender as a woman." A bill to replace the statue in the Capitol with one of suffragist Alice Paul passed the New Jersey Senate on February 10, 2020.There are at least three other castings of the statue. One done in 1901 is located in Kearny Park, Muskegon, Michigan.  Another was dedicated in 1880 in Trenton, New Jersey and then relocated several times, finally to Military Park in Newark, New Jersey. The Archives of American Art traced the somewhat complicated history of the statue. "In March 1868, the New Jersey legislature approved funding for a bronze portrait of Major General Philip Kearny to be placed in Statuary Hall at the U.S. Capitol. The cast was finished in 1873, but on its way to Washington, the statue was diverted to the State House in Trenton where it ended up in an obscure hallway. In 1880, the mistake was discovered and concerned citizens of Newark petitioned to relocate the sculpture to its original destination in Statuary Hall, and if not there, then to a suitable location in Newark, where Kearney was born and raised. The petition was successful and in 1880, the statue was installed to Newark's Military Park on a Quincy granite base designed by Henry Kirke Brown and architect Paul G. Botticher to resemble an embankment in a war fortification." It was added as a key contributing object to the Military Park Commons Historic District on June 18, 2004.In 1993, the Newark statue was knocked off its base. In the process of restoring it a cast was taken and another version of the work was created, this one placed in Kearny, New Jersey, a town named after the general and dedicated on September 10, 1993.

Category:Bronze sculptures in Washington, D.C.

Category:Monuments and memorials in New Jersey

Category:Sculptures by Henry Kirke Brown

Category:Public art in Newark, New Jersey

Category:Monuments and memorials in Michigan

Statues of the National Statuary Hall Collection

List of public art in Newark, New Jersey

File:Philip Kearny by Henry Kirke Brown, Newark, NJ.jpg

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:1888 establishments in Washington, D.C.

Category:National Statuary Hall Collection

Category:Sculptures of men in New Jersey


Statue of Philip Kearny

Prompt: Explain the Description and history of this artwork, Statue of Philip Kearny.

The statue portrays Kearny dressed in the uniform of a Civil War general, holding a sword in his right hand.  His coat draped over his left shoulder covers the fact that his left arm had been amputated following the Battle of Churubusco.Although the statue entered the Hall in 1888 it is dated "1873" on the base. Kearny, described by William Walter Phelps while accepting the statue into the collection on August 21, 1888, called Kearny "the perfect soldier . . .brave as a lion, tender as a woman." A bill to replace the statue in the Capitol with one of suffragist Alice Paul passed the New Jersey Senate on February 10, 2020.There are at least three other castings of the statue. One done in 1901 is located in Kearny Park, Muskegon, Michigan.  Another was dedicated in 1880 in Trenton, New Jersey and then relocated several times, finally to Military Park in Newark, New Jersey. The Archives of American Art traced the somewhat complicated history of the statue. "In March 1868, the New Jersey legislature approved funding for a bronze portrait of Major General Philip Kearny to be placed in Statuary Hall at the U.S. Capitol. The cast was finished in 1873, but on its way to Washington, the statue was diverted to the State House in Trenton where it ended up in an obscure hallway. In 1880, the mistake was discovered and concerned citizens of Newark petitioned to relocate the sculpture to its original destination in Statuary Hall, and if not there, then to a suitable location in Newark, where Kearney was born and raised. The petition was successful and in 1880, the statue was installed to Newark's Military Park on a Quincy granite base designed by Henry Kirke Brown and architect Paul G. Botticher to resemble an embankment in a war fortification." It was added as a key contributing object to the Military Park Commons Historic District on June 18, 2004.In 1993, the Newark statue was knocked off its base. In the process of restoring it a cast was taken and another version of the work was created, this one placed in Kearny, New Jersey, a town named after the general and dedicated on September 10, 1993.

Category:Bronze sculptures in Washington, D.C.

Category:Monuments and memorials in New Jersey

Category:Sculptures by Henry Kirke Brown

Category:Public art in Newark, New Jersey

Category:Monuments and memorials in Michigan

Statues of the National Statuary Hall Collection

List of public art in Newark, New Jersey

File:Philip Kearny by Henry Kirke Brown, Newark, NJ.jpg

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:1888 establishments in Washington, D.C.

Category:National Statuary Hall Collection

Category:Sculptures of men in New Jersey


Statue of Philip Kearny

Prompt: How does Statue of Philip Kearny explain its Description and history?

The statue portrays Kearny dressed in the uniform of a Civil War general, holding a sword in his right hand.  His coat draped over his left shoulder covers the fact that his left arm had been amputated following the Battle of Churubusco.Although the statue entered the Hall in 1888 it is dated "1873" on the base. Kearny, described by William Walter Phelps while accepting the statue into the collection on August 21, 1888, called Kearny "the perfect soldier . . .brave as a lion, tender as a woman." A bill to replace the statue in the Capitol with one of suffragist Alice Paul passed the New Jersey Senate on February 10, 2020.There are at least three other castings of the statue. One done in 1901 is located in Kearny Park, Muskegon, Michigan.  Another was dedicated in 1880 in Trenton, New Jersey and then relocated several times, finally to Military Park in Newark, New Jersey. The Archives of American Art traced the somewhat complicated history of the statue. "In March 1868, the New Jersey legislature approved funding for a bronze portrait of Major General Philip Kearny to be placed in Statuary Hall at the U.S. Capitol. The cast was finished in 1873, but on its way to Washington, the statue was diverted to the State House in Trenton where it ended up in an obscure hallway. In 1880, the mistake was discovered and concerned citizens of Newark petitioned to relocate the sculpture to its original destination in Statuary Hall, and if not there, then to a suitable location in Newark, where Kearney was born and raised. The petition was successful and in 1880, the statue was installed to Newark's Military Park on a Quincy granite base designed by Henry Kirke Brown and architect Paul G. Botticher to resemble an embankment in a war fortification." It was added as a key contributing object to the Military Park Commons Historic District on June 18, 2004.In 1993, the Newark statue was knocked off its base. In the process of restoring it a cast was taken and another version of the work was created, this one placed in Kearny, New Jersey, a town named after the general and dedicated on September 10, 1993.

Category:Bronze sculptures in Washington, D.C.

Category:Monuments and memorials in New Jersey

Category:Sculptures by Henry Kirke Brown

Category:Public art in Newark, New Jersey

Category:Monuments and memorials in Michigan

Statues of the National Statuary Hall Collection

List of public art in Newark, New Jersey

File:Philip Kearny by Henry Kirke Brown, Newark, NJ.jpg

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:1888 establishments in Washington, D.C.

Category:National Statuary Hall Collection

Category:Sculptures of men in New Jersey


Statue of Philip Kearny

Prompt: In Statue of Philip Kearny, how is the Description and history discussed?

The statue portrays Kearny dressed in the uniform of a Civil War general, holding a sword in his right hand.  His coat draped over his left shoulder covers the fact that his left arm had been amputated following the Battle of Churubusco.Although the statue entered the Hall in 1888 it is dated "1873" on the base. Kearny, described by William Walter Phelps while accepting the statue into the collection on August 21, 1888, called Kearny "the perfect soldier . . .brave as a lion, tender as a woman." A bill to replace the statue in the Capitol with one of suffragist Alice Paul passed the New Jersey Senate on February 10, 2020.There are at least three other castings of the statue. One done in 1901 is located in Kearny Park, Muskegon, Michigan.  Another was dedicated in 1880 in Trenton, New Jersey and then relocated several times, finally to Military Park in Newark, New Jersey. The Archives of American Art traced the somewhat complicated history of the statue. "In March 1868, the New Jersey legislature approved funding for a bronze portrait of Major General Philip Kearny to be placed in Statuary Hall at the U.S. Capitol. The cast was finished in 1873, but on its way to Washington, the statue was diverted to the State House in Trenton where it ended up in an obscure hallway. In 1880, the mistake was discovered and concerned citizens of Newark petitioned to relocate the sculpture to its original destination in Statuary Hall, and if not there, then to a suitable location in Newark, where Kearney was born and raised. The petition was successful and in 1880, the statue was installed to Newark's Military Park on a Quincy granite base designed by Henry Kirke Brown and architect Paul G. Botticher to resemble an embankment in a war fortification." It was added as a key contributing object to the Military Park Commons Historic District on June 18, 2004.In 1993, the Newark statue was knocked off its base. In the process of restoring it a cast was taken and another version of the work was created, this one placed in Kearny, New Jersey, a town named after the general and dedicated on September 10, 1993.

Category:Bronze sculptures in Washington, D.C.

Category:Monuments and memorials in New Jersey

Category:Sculptures by Henry Kirke Brown

Category:Public art in Newark, New Jersey

Category:Monuments and memorials in Michigan

Statues of the National Statuary Hall Collection

List of public art in Newark, New Jersey

File:Philip Kearny by Henry Kirke Brown, Newark, NJ.jpg

Category:Sculptures of men in Washington, D.C.

Category:Monuments and memorials in Washington, D.C.

Category:1888 establishments in Washington, D.C.

Category:National Statuary Hall Collection

Category:Sculptures of men in New Jersey


Parade Armour of Henry II of France

Prompt: Focus on Parade Armour of Henry II of France and explain the abstract.

The Parade Armour of Henry II of France, now in the Metropolitan Museum of Art, New York, is believed to date from c 1553–55 and its decoration is attributed to the French goldsmith and engraver Étienne Delaune. Designed for use in pageantry, the armour was fashioned of gold, silver and steel and with leather and red velvet trimmings. It was created for Henry II of France as ceremonial wear; the figures embossed on the breastplate and back are intended to reflect his military achievements.There are 20 surviving mid-sixteenth-century drawings, thought to be by Delaune, used for sketching the original design. Later additions and modifications are attributed to Baptiste Pellerin and Jean Cousin the Elder.  The Metropolitan acquired the armour in 1939 via the Harris Brisbane Dick Fund.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: Explain the abstract of this artwork, Parade Armour of Henry II of France.

The Parade Armour of Henry II of France, now in the Metropolitan Museum of Art, New York, is believed to date from c 1553–55 and its decoration is attributed to the French goldsmith and engraver Étienne Delaune. Designed for use in pageantry, the armour was fashioned of gold, silver and steel and with leather and red velvet trimmings. It was created for Henry II of France as ceremonial wear; the figures embossed on the breastplate and back are intended to reflect his military achievements.There are 20 surviving mid-sixteenth-century drawings, thought to be by Delaune, used for sketching the original design. Later additions and modifications are attributed to Baptiste Pellerin and Jean Cousin the Elder.  The Metropolitan acquired the armour in 1939 via the Harris Brisbane Dick Fund.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: How does Parade Armour of Henry II of France explain its abstract?

The Parade Armour of Henry II of France, now in the Metropolitan Museum of Art, New York, is believed to date from c 1553–55 and its decoration is attributed to the French goldsmith and engraver Étienne Delaune. Designed for use in pageantry, the armour was fashioned of gold, silver and steel and with leather and red velvet trimmings. It was created for Henry II of France as ceremonial wear; the figures embossed on the breastplate and back are intended to reflect his military achievements.There are 20 surviving mid-sixteenth-century drawings, thought to be by Delaune, used for sketching the original design. Later additions and modifications are attributed to Baptiste Pellerin and Jean Cousin the Elder.  The Metropolitan acquired the armour in 1939 via the Harris Brisbane Dick Fund.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: In Parade Armour of Henry II of France, how is the abstract discussed?

The Parade Armour of Henry II of France, now in the Metropolitan Museum of Art, New York, is believed to date from c 1553–55 and its decoration is attributed to the French goldsmith and engraver Étienne Delaune. Designed for use in pageantry, the armour was fashioned of gold, silver and steel and with leather and red velvet trimmings. It was created for Henry II of France as ceremonial wear; the figures embossed on the breastplate and back are intended to reflect his military achievements.There are 20 surviving mid-sixteenth-century drawings, thought to be by Delaune, used for sketching the original design. Later additions and modifications are attributed to Baptiste Pellerin and Jean Cousin the Elder.  The Metropolitan acquired the armour in 1939 via the Harris Brisbane Dick Fund.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: Focus on Parade Armour of Henry II of France and explain the Description.

The adornments consist of dense passages of foliate scrolls which are derived from Arabesque art. The imagery contain both human figures and fantastical creatures. The latter seems influenced by the Italian Grotesque, particularly the work of sculptors Francesco Primaticcio and Benvenuto Cellini, both of whom produced works for Henry II.The human figures include a Roman warrior representing Triumph and Fame. He receives tribute from two kneeling women. The Roman mythology theme appears elsewhere as well: Apollo chases the nymph Daphne across the breastplate and appears on the back with the slain monster Python. This triumphant symbolism is intended to reflect Henry's military achievements. Henry's badge, a crescent moon, appears in several places.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: Explain the Description of this artwork, Parade Armour of Henry II of France.

The adornments consist of dense passages of foliate scrolls which are derived from Arabesque art. The imagery contain both human figures and fantastical creatures. The latter seems influenced by the Italian Grotesque, particularly the work of sculptors Francesco Primaticcio and Benvenuto Cellini, both of whom produced works for Henry II.The human figures include a Roman warrior representing Triumph and Fame. He receives tribute from two kneeling women. The Roman mythology theme appears elsewhere as well: Apollo chases the nymph Daphne across the breastplate and appears on the back with the slain monster Python. This triumphant symbolism is intended to reflect Henry's military achievements. Henry's badge, a crescent moon, appears in several places.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: How does Parade Armour of Henry II of France explain its Description?

The adornments consist of dense passages of foliate scrolls which are derived from Arabesque art. The imagery contain both human figures and fantastical creatures. The latter seems influenced by the Italian Grotesque, particularly the work of sculptors Francesco Primaticcio and Benvenuto Cellini, both of whom produced works for Henry II.The human figures include a Roman warrior representing Triumph and Fame. He receives tribute from two kneeling women. The Roman mythology theme appears elsewhere as well: Apollo chases the nymph Daphne across the breastplate and appears on the back with the slain monster Python. This triumphant symbolism is intended to reflect Henry's military achievements. Henry's badge, a crescent moon, appears in several places.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: In Parade Armour of Henry II of France, how is the Description discussed?

The adornments consist of dense passages of foliate scrolls which are derived from Arabesque art. The imagery contain both human figures and fantastical creatures. The latter seems influenced by the Italian Grotesque, particularly the work of sculptors Francesco Primaticcio and Benvenuto Cellini, both of whom produced works for Henry II.The human figures include a Roman warrior representing Triumph and Fame. He receives tribute from two kneeling women. The Roman mythology theme appears elsewhere as well: Apollo chases the nymph Daphne across the breastplate and appears on the back with the slain monster Python. This triumphant symbolism is intended to reflect Henry's military achievements. Henry's badge, a crescent moon, appears in several places.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: Focus on Parade Armour of Henry II of France and explain the Function.

Parade armour became an elaborate and ornate Renaissance art form intended to both glorify war and flatter the military prowess of the royal subject. Surviving examples include decorated shields, helmets, and full suits of armour. Delaune was an important contributor to the form, and Henry II commissioned a number of similar works, including a panel for his horse, and some bucklers (shields) now in the Louvre, both by Delaune. In addition surviving works for Henry include a full suit at the Museum of Ethnology, Vienna.Henry required armour for battle, tournament and state occasions, and kept a court armoury staffed by mostly French, Flemish and Italian artisans, of whom Delaune was probably the most skilled and was called upon for the most prestigious commissions. The c 1555 "Shield of Henry II of France" also in the Metropolitan, is thought to have been based on a design by Delaune. Today there are at least six surviving examples of armour designed for Henry by Delaune, a number of which are shields, including in the Wallace Collection, Vienna, and Turin.The manufacture of the suit would have been highly specialised and complex, probably involving a number of master goldsmiths, and involve high levels of gilding, damascening the layers gold and silver, and leather stamping (embossing). It was probably created at the Louvre Atelier of Royal Armorers, and would not have been intended for wear at battle or jousts – the armour is purely decorative and suitable only for state processions and occasions; its form and design would impede movement and is impractically designed for defense.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: Explain the Function of this artwork, Parade Armour of Henry II of France.

Parade armour became an elaborate and ornate Renaissance art form intended to both glorify war and flatter the military prowess of the royal subject. Surviving examples include decorated shields, helmets, and full suits of armour. Delaune was an important contributor to the form, and Henry II commissioned a number of similar works, including a panel for his horse, and some bucklers (shields) now in the Louvre, both by Delaune. In addition surviving works for Henry include a full suit at the Museum of Ethnology, Vienna.Henry required armour for battle, tournament and state occasions, and kept a court armoury staffed by mostly French, Flemish and Italian artisans, of whom Delaune was probably the most skilled and was called upon for the most prestigious commissions. The c 1555 "Shield of Henry II of France" also in the Metropolitan, is thought to have been based on a design by Delaune. Today there are at least six surviving examples of armour designed for Henry by Delaune, a number of which are shields, including in the Wallace Collection, Vienna, and Turin.The manufacture of the suit would have been highly specialised and complex, probably involving a number of master goldsmiths, and involve high levels of gilding, damascening the layers gold and silver, and leather stamping (embossing). It was probably created at the Louvre Atelier of Royal Armorers, and would not have been intended for wear at battle or jousts – the armour is purely decorative and suitable only for state processions and occasions; its form and design would impede movement and is impractically designed for defense.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: How does Parade Armour of Henry II of France explain its Function?

Parade armour became an elaborate and ornate Renaissance art form intended to both glorify war and flatter the military prowess of the royal subject. Surviving examples include decorated shields, helmets, and full suits of armour. Delaune was an important contributor to the form, and Henry II commissioned a number of similar works, including a panel for his horse, and some bucklers (shields) now in the Louvre, both by Delaune. In addition surviving works for Henry include a full suit at the Museum of Ethnology, Vienna.Henry required armour for battle, tournament and state occasions, and kept a court armoury staffed by mostly French, Flemish and Italian artisans, of whom Delaune was probably the most skilled and was called upon for the most prestigious commissions. The c 1555 "Shield of Henry II of France" also in the Metropolitan, is thought to have been based on a design by Delaune. Today there are at least six surviving examples of armour designed for Henry by Delaune, a number of which are shields, including in the Wallace Collection, Vienna, and Turin.The manufacture of the suit would have been highly specialised and complex, probably involving a number of master goldsmiths, and involve high levels of gilding, damascening the layers gold and silver, and leather stamping (embossing). It was probably created at the Louvre Atelier of Royal Armorers, and would not have been intended for wear at battle or jousts – the armour is purely decorative and suitable only for state processions and occasions; its form and design would impede movement and is impractically designed for defense.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Parade Armour of Henry II of France

Prompt: In Parade Armour of Henry II of France, how is the Function discussed?

Parade armour became an elaborate and ornate Renaissance art form intended to both glorify war and flatter the military prowess of the royal subject. Surviving examples include decorated shields, helmets, and full suits of armour. Delaune was an important contributor to the form, and Henry II commissioned a number of similar works, including a panel for his horse, and some bucklers (shields) now in the Louvre, both by Delaune. In addition surviving works for Henry include a full suit at the Museum of Ethnology, Vienna.Henry required armour for battle, tournament and state occasions, and kept a court armoury staffed by mostly French, Flemish and Italian artisans, of whom Delaune was probably the most skilled and was called upon for the most prestigious commissions. The c 1555 "Shield of Henry II of France" also in the Metropolitan, is thought to have been based on a design by Delaune. Today there are at least six surviving examples of armour designed for Henry by Delaune, a number of which are shields, including in the Wallace Collection, Vienna, and Turin.The manufacture of the suit would have been highly specialised and complex, probably involving a number of master goldsmiths, and involve high levels of gilding, damascening the layers gold and silver, and leather stamping (embossing). It was probably created at the Louvre Atelier of Royal Armorers, and would not have been intended for wear at battle or jousts – the armour is purely decorative and suitable only for state processions and occasions; its form and design would impede movement and is impractically designed for defense.

File:16th-century armour Vienna museum.jpg

Category:Metalwork in the Metropolitan Museum of Art

A shield of Henry II, Metropolitan Museum of Art

A different suit of armor of Henry II, Museum of Ethnology, Vienna

File:Shield of Henry II of France (reigned 1547–59) MET DT763.jpg

Category:Clothing in the Metropolitan Museum of Art

Category:Arms and armor in the Metropolitan Museum of Art


Prompt: Focus on The Dance Class (Degas, Metropolitan Museum of Art) and explain the abstract.

The Dance Class is an 1874 oil painting on canvas by the French artist Edgar Degas. It is in the collection of the Metropolitan Museum of Art, in New York.The painting and its companion work in the Musée d'Orsay, Paris, are amongst the most ambitious works by Degas on the theme of ballet. The imaginary scene depicts a dance class being held under the supervision of Jules Perrot, a famous ballet master, in the old Paris Opera, which had actually burnt down the previous year.The poster on the wall for Rossini's Guillaume Tell is a tribute to the operatic singer Jean-Baptiste Faure, who had commissioned the work.The painting is on view in the Metropolitan Museum's Gallery 815 as of December 2023.

Category:Paintings in the Metropolitan Museum of Art


Prompt: Explain the abstract of this artwork, The Dance Class (Degas, Metropolitan Museum of Art).

The Dance Class is an 1874 oil painting on canvas by the French artist Edgar Degas. It is in the collection of the Metropolitan Museum of Art, in New York.The painting and its companion work in the Musée d'Orsay, Paris, are amongst the most ambitious works by Degas on the theme of ballet. The imaginary scene depicts a dance class being held under the supervision of Jules Perrot, a famous ballet master, in the old Paris Opera, which had actually burnt down the previous year.The poster on the wall for Rossini's Guillaume Tell is a tribute to the operatic singer Jean-Baptiste Faure, who had commissioned the work.The painting is on view in the Metropolitan Museum's Gallery 815 as of December 2023.

Category:Paintings in the Metropolitan Museum of Art


Prompt: How does The Dance Class (Degas, Metropolitan Museum of Art) explain its abstract?

The Dance Class is an 1874 oil painting on canvas by the French artist Edgar Degas. It is in the collection of the Metropolitan Museum of Art, in New York.The painting and its companion work in the Musée d'Orsay, Paris, are amongst the most ambitious works by Degas on the theme of ballet. The imaginary scene depicts a dance class being held under the supervision of Jules Perrot, a famous ballet master, in the old Paris Opera, which had actually burnt down the previous year.The poster on the wall for Rossini's Guillaume Tell is a tribute to the operatic singer Jean-Baptiste Faure, who had commissioned the work.The painting is on view in the Metropolitan Museum's Gallery 815 as of December 2023.

Category:Paintings in the Metropolitan Museum of Art


Prompt: In The Dance Class (Degas, Metropolitan Museum of Art), how is the abstract discussed?

The Dance Class is an 1874 oil painting on canvas by the French artist Edgar Degas. It is in the collection of the Metropolitan Museum of Art, in New York.The painting and its companion work in the Musée d'Orsay, Paris, are amongst the most ambitious works by Degas on the theme of ballet. The imaginary scene depicts a dance class being held under the supervision of Jules Perrot, a famous ballet master, in the old Paris Opera, which had actually burnt down the previous year.The poster on the wall for Rossini's Guillaume Tell is a tribute to the operatic singer Jean-Baptiste Faure, who had commissioned the work.The painting is on view in the Metropolitan Museum's Gallery 815 as of December 2023.

Category:Paintings in the Metropolitan Museum of Art


Statue of Pope John XXIII

Prompt: Focus on Statue of Pope John XXIII and explain the abstract.

A statue of Pope John XXIII is installed outside Istanbul's Church of St. Anthony of Padua, in Turkey.

Category:Cultural depictions of Pope John XXIII

Church of St. Anthony of Padua, Istanbul


Statue of Pope John XXIII

Prompt: Explain the abstract of this artwork, Statue of Pope John XXIII.

A statue of Pope John XXIII is installed outside Istanbul's Church of St. Anthony of Padua, in Turkey.

Category:Cultural depictions of Pope John XXIII

Church of St. Anthony of Padua, Istanbul


Statue of Pope John XXIII

Prompt: How does Statue of Pope John XXIII explain its abstract?

A statue of Pope John XXIII is installed outside Istanbul's Church of St. Anthony of Padua, in Turkey.

Category:Cultural depictions of Pope John XXIII

Church of St. Anthony of Padua, Istanbul


Statue of Pope John XXIII

Prompt: In Statue of Pope John XXIII, how is the abstract discussed?

A statue of Pope John XXIII is installed outside Istanbul's Church of St. Anthony of Padua, in Turkey.

Category:Cultural depictions of Pope John XXIII

Church of St. Anthony of Padua, Istanbul


Statue of Pope John XXIII

Prompt: Focus on Statue of Pope John XXIII and explain the History.

The statue was made in Italy and first erected in the garden of the St. Esprit Church in Harbiye, Şişli, unveiled when Pope Benedict XVI visited Istanbul on November 30, 2006. It was later relocated to the Church of St. Anthony of Padua.

Category:Cultural depictions of Pope John XXIII

Church of St. Anthony of Padua, Istanbul


Statue of Pope John XXIII

Prompt: Explain the History of this artwork, Statue of Pope John XXIII.

The statue was made in Italy and first erected in the garden of the St. Esprit Church in Harbiye, Şişli, unveiled when Pope Benedict XVI visited Istanbul on November 30, 2006. It was later relocated to the Church of St. Anthony of Padua.

Category:Cultural depictions of Pope John XXIII

Church of St. Anthony of Padua, Istanbul


Statue of Pope John XXIII

Prompt: How does Statue of Pope John XXIII explain its History?

The statue was made in Italy and first erected in the garden of the St. Esprit Church in Harbiye, Şişli, unveiled when Pope Benedict XVI visited Istanbul on November 30, 2006. It was later relocated to the Church of St. Anthony of Padua.

Category:Cultural depictions of Pope John XXIII

Church of St. Anthony of Padua, Istanbul


Statue of Pope John XXIII

Prompt: In Statue of Pope John XXIII, how is the History discussed?

The statue was made in Italy and first erected in the garden of the St. Esprit Church in Harbiye, Şişli, unveiled when Pope Benedict XVI visited Istanbul on November 30, 2006. It was later relocated to the Church of St. Anthony of Padua.

Category:Cultural depictions of Pope John XXIII

Church of St. Anthony of Padua, Istanbul


The Continence of Scipio (Bellini)

Prompt: Focus on The Continence of Scipio (Bellini) and explain the abstract.

The Continence of Scipio or An Episode from the Life of Publius Cornelius Scipio is a painting in oils on canvas by the Italian Renaissance artist Giovanni Bellini, dating to 1507–08 and now in the National Gallery of Art in Washington, D.C.

File:Giovanni Bellini - Continence of Scipio (detail, half-left part) - WGA1766.jpg

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery of Art

Category:Cultural depictions of Scipio Africanus

The Introduction of the Cult of Cybele at Rome


The Continence of Scipio (Bellini)

Prompt: Explain the abstract of this artwork, The Continence of Scipio (Bellini).

The Continence of Scipio or An Episode from the Life of Publius Cornelius Scipio is a painting in oils on canvas by the Italian Renaissance artist Giovanni Bellini, dating to 1507–08 and now in the National Gallery of Art in Washington, D.C.

File:Giovanni Bellini - Continence of Scipio (detail, half-left part) - WGA1766.jpg

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery of Art

Category:Cultural depictions of Scipio Africanus

The Introduction of the Cult of Cybele at Rome


The Continence of Scipio (Bellini)

Prompt: How does The Continence of Scipio (Bellini) explain its abstract?

The Continence of Scipio or An Episode from the Life of Publius Cornelius Scipio is a painting in oils on canvas by the Italian Renaissance artist Giovanni Bellini, dating to 1507–08 and now in the National Gallery of Art in Washington, D.C.

File:Giovanni Bellini - Continence of Scipio (detail, half-left part) - WGA1766.jpg

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery of Art

Category:Cultural depictions of Scipio Africanus

The Introduction of the Cult of Cybele at Rome


The Continence of Scipio (Bellini)

Prompt: In The Continence of Scipio (Bellini), how is the abstract discussed?

The Continence of Scipio or An Episode from the Life of Publius Cornelius Scipio is a painting in oils on canvas by the Italian Renaissance artist Giovanni Bellini, dating to 1507–08 and now in the National Gallery of Art in Washington, D.C.

File:Giovanni Bellini - Continence of Scipio (detail, half-left part) - WGA1766.jpg

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery of Art

Category:Cultural depictions of Scipio Africanus

The Introduction of the Cult of Cybele at Rome


The Continence of Scipio (Bellini)

Prompt: Focus on The Continence of Scipio (Bellini) and explain the History.

It was probably commissioned in 1505 from Andrea Mantegna by cardinal Marco Cornaro for the 'studiolo' or study of his brother Francesco's palace in San Polo. This would make it a pendant to The Introduction of the Cult of Cybele at Rome, with the pair possibly intended to form part of a series of four works. However, Mantegna did not begin any of the four except Introduction, the only one that Mantegna he completed before his death in 1506. He and Bellini had trained together as young men and the latter was also the former's brother in law. Bellini was himself an old man by 1506 but still took over this part of the commission and produced it in one of Mantegna's signature styles, grisaille (monochrome). Roberto Longhi has suggested that Sofonisba and Tuccia from Mantegna's Exemplary Women of Antiquity series were produced to go with Introduction and Continence – they are the same height as them but are on panel not canvas and no documents survive to support the theory.Francesco Cornaro was a Venetian patrician and his family was supposed to be descended from the Cornelia gens of ancient Rome, hence the choice of two subjects from that gens' participation in the Second Punic War. Continence is derived from a story in Livy and Valerius Maximus about the aftermath of the capture of Carthago Nova in 209 BC by Publius Cornelius Scipio. A virgin was personally delivered to him as a hostage, but she pleaded to be returned to her parents and Celtiberian fiancé. He agreed on the single condition that her fiancé would work for peace between Rome and Carthage. Just left of centre Scipio sits on a throne and refuses the gold brought to him by the woman's parents as her ransom. She stands at the foot of his throne with her fiancé, who is shown with a sword and helmet. Between Scipio and the virgin is a plaque reading TVRPIVS / IMPER / VENERE / .Q. A. / MIS AI. The more peripheral figures were painted by Bellini's studio and overall his and their figures show more animation than Mantegna's more rigid classicism, showing that Bellini had taken on board innovations by Giorgione but refused to be influenced by Dürer.The work reappeared on the art market in 1873 when it was sold by Sir John Charles Robinson (1824–1913) to Sir Francis Cook (1817–1901) of Doughty House, Richmond-upon-Thames. Cook's son Frederick Lucas, his grandson Herbert Frederick and his great-grandson Francis Ferdinand Maurice all inherited the painting in turn. Sir Francis Ferdinand Maurice Cook sold it in February 1948 to Gualtiero Volterra, who was buying it on behalf of count Alessandro Contini-Bonacossi of Florence. The count briefly brought it back to Italy before selling it to the Samuel H. Kress Foundation in March 1949. The Foundation finally gave it to its current owner in 1952.

File:Giovanni Bellini - Continence of Scipio (detail, half-left part) - WGA1766.jpg

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery of Art

Category:Cultural depictions of Scipio Africanus


The Continence of Scipio (Bellini)

Prompt: Explain the History of this artwork, The Continence of Scipio (Bellini).

It was probably commissioned in 1505 from Andrea Mantegna by cardinal Marco Cornaro for the 'studiolo' or study of his brother Francesco's palace in San Polo. This would make it a pendant to The Introduction of the Cult of Cybele at Rome, with the pair possibly intended to form part of a series of four works. However, Mantegna did not begin any of the four except Introduction, the only one that Mantegna he completed before his death in 1506. He and Bellini had trained together as young men and the latter was also the former's brother in law. Bellini was himself an old man by 1506 but still took over this part of the commission and produced it in one of Mantegna's signature styles, grisaille (monochrome). Roberto Longhi has suggested that Sofonisba and Tuccia from Mantegna's Exemplary Women of Antiquity series were produced to go with Introduction and Continence – they are the same height as them but are on panel not canvas and no documents survive to support the theory.Francesco Cornaro was a Venetian patrician and his family was supposed to be descended from the Cornelia gens of ancient Rome, hence the choice of two subjects from that gens' participation in the Second Punic War. Continence is derived from a story in Livy and Valerius Maximus about the aftermath of the capture of Carthago Nova in 209 BC by Publius Cornelius Scipio. A virgin was personally delivered to him as a hostage, but she pleaded to be returned to her parents and Celtiberian fiancé. He agreed on the single condition that her fiancé would work for peace between Rome and Carthage. Just left of centre Scipio sits on a throne and refuses the gold brought to him by the woman's parents as her ransom. She stands at the foot of his throne with her fiancé, who is shown with a sword and helmet. Between Scipio and the virgin is a plaque reading TVRPIVS / IMPER / VENERE / .Q. A. / MIS AI. The more peripheral figures were painted by Bellini's studio and overall his and their figures show more animation than Mantegna's more rigid classicism, showing that Bellini had taken on board innovations by Giorgione but refused to be influenced by Dürer.The work reappeared on the art market in 1873 when it was sold by Sir John Charles Robinson (1824–1913) to Sir Francis Cook (1817–1901) of Doughty House, Richmond-upon-Thames. Cook's son Frederick Lucas, his grandson Herbert Frederick and his great-grandson Francis Ferdinand Maurice all inherited the painting in turn. Sir Francis Ferdinand Maurice Cook sold it in February 1948 to Gualtiero Volterra, who was buying it on behalf of count Alessandro Contini-Bonacossi of Florence. The count briefly brought it back to Italy before selling it to the Samuel H. Kress Foundation in March 1949. The Foundation finally gave it to its current owner in 1952.

File:Giovanni Bellini - Continence of Scipio (detail, half-left part) - WGA1766.jpg

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery of Art

Category:Cultural depictions of Scipio Africanus


The Continence of Scipio (Bellini)

Prompt: How does The Continence of Scipio (Bellini) explain its History?

It was probably commissioned in 1505 from Andrea Mantegna by cardinal Marco Cornaro for the 'studiolo' or study of his brother Francesco's palace in San Polo. This would make it a pendant to The Introduction of the Cult of Cybele at Rome, with the pair possibly intended to form part of a series of four works. However, Mantegna did not begin any of the four except Introduction, the only one that Mantegna he completed before his death in 1506. He and Bellini had trained together as young men and the latter was also the former's brother in law. Bellini was himself an old man by 1506 but still took over this part of the commission and produced it in one of Mantegna's signature styles, grisaille (monochrome). Roberto Longhi has suggested that Sofonisba and Tuccia from Mantegna's Exemplary Women of Antiquity series were produced to go with Introduction and Continence – they are the same height as them but are on panel not canvas and no documents survive to support the theory.Francesco Cornaro was a Venetian patrician and his family was supposed to be descended from the Cornelia gens of ancient Rome, hence the choice of two subjects from that gens' participation in the Second Punic War. Continence is derived from a story in Livy and Valerius Maximus about the aftermath of the capture of Carthago Nova in 209 BC by Publius Cornelius Scipio. A virgin was personally delivered to him as a hostage, but she pleaded to be returned to her parents and Celtiberian fiancé. He agreed on the single condition that her fiancé would work for peace between Rome and Carthage. Just left of centre Scipio sits on a throne and refuses the gold brought to him by the woman's parents as her ransom. She stands at the foot of his throne with her fiancé, who is shown with a sword and helmet. Between Scipio and the virgin is a plaque reading TVRPIVS / IMPER / VENERE / .Q. A. / MIS AI. The more peripheral figures were painted by Bellini's studio and overall his and their figures show more animation than Mantegna's more rigid classicism, showing that Bellini had taken on board innovations by Giorgione but refused to be influenced by Dürer.The work reappeared on the art market in 1873 when it was sold by Sir John Charles Robinson (1824–1913) to Sir Francis Cook (1817–1901) of Doughty House, Richmond-upon-Thames. Cook's son Frederick Lucas, his grandson Herbert Frederick and his great-grandson Francis Ferdinand Maurice all inherited the painting in turn. Sir Francis Ferdinand Maurice Cook sold it in February 1948 to Gualtiero Volterra, who was buying it on behalf of count Alessandro Contini-Bonacossi of Florence. The count briefly brought it back to Italy before selling it to the Samuel H. Kress Foundation in March 1949. The Foundation finally gave it to its current owner in 1952.

File:Giovanni Bellini - Continence of Scipio (detail, half-left part) - WGA1766.jpg

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery of Art

Category:Cultural depictions of Scipio Africanus


The Continence of Scipio (Bellini)

Prompt: In The Continence of Scipio (Bellini), how is the History discussed?

It was probably commissioned in 1505 from Andrea Mantegna by cardinal Marco Cornaro for the 'studiolo' or study of his brother Francesco's palace in San Polo. This would make it a pendant to The Introduction of the Cult of Cybele at Rome, with the pair possibly intended to form part of a series of four works. However, Mantegna did not begin any of the four except Introduction, the only one that Mantegna he completed before his death in 1506. He and Bellini had trained together as young men and the latter was also the former's brother in law. Bellini was himself an old man by 1506 but still took over this part of the commission and produced it in one of Mantegna's signature styles, grisaille (monochrome). Roberto Longhi has suggested that Sofonisba and Tuccia from Mantegna's Exemplary Women of Antiquity series were produced to go with Introduction and Continence – they are the same height as them but are on panel not canvas and no documents survive to support the theory.Francesco Cornaro was a Venetian patrician and his family was supposed to be descended from the Cornelia gens of ancient Rome, hence the choice of two subjects from that gens' participation in the Second Punic War. Continence is derived from a story in Livy and Valerius Maximus about the aftermath of the capture of Carthago Nova in 209 BC by Publius Cornelius Scipio. A virgin was personally delivered to him as a hostage, but she pleaded to be returned to her parents and Celtiberian fiancé. He agreed on the single condition that her fiancé would work for peace between Rome and Carthage. Just left of centre Scipio sits on a throne and refuses the gold brought to him by the woman's parents as her ransom. She stands at the foot of his throne with her fiancé, who is shown with a sword and helmet. Between Scipio and the virgin is a plaque reading TVRPIVS / IMPER / VENERE / .Q. A. / MIS AI. The more peripheral figures were painted by Bellini's studio and overall his and their figures show more animation than Mantegna's more rigid classicism, showing that Bellini had taken on board innovations by Giorgione but refused to be influenced by Dürer.The work reappeared on the art market in 1873 when it was sold by Sir John Charles Robinson (1824–1913) to Sir Francis Cook (1817–1901) of Doughty House, Richmond-upon-Thames. Cook's son Frederick Lucas, his grandson Herbert Frederick and his great-grandson Francis Ferdinand Maurice all inherited the painting in turn. Sir Francis Ferdinand Maurice Cook sold it in February 1948 to Gualtiero Volterra, who was buying it on behalf of count Alessandro Contini-Bonacossi of Florence. The count briefly brought it back to Italy before selling it to the Samuel H. Kress Foundation in March 1949. The Foundation finally gave it to its current owner in 1952.

File:Giovanni Bellini - Continence of Scipio (detail, half-left part) - WGA1766.jpg

Francis Cook, 1st Viscount of Monserrate

Category:Paintings in the National Gallery of Art

Category:Cultural depictions of Scipio Africanus


Khambana Kao Phaba (painting)

Prompt: Focus on Khambana Kao Phaba (painting) and explain the abstract.

The Khambana Kao Phaba (Meitei for 'Khamba capturing Kao bull') is a 2001 oil canvas painting by Manipuri artists, M Betombi Singh and Gopal Sharma. The painting shows the capture of powerful Kao bull by hero Khamba. It is one of the most well known museum series "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya in India. It was exhibited for a whole month of July, 2019.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: Explain the abstract of this artwork, Khambana Kao Phaba (painting).

The Khambana Kao Phaba (Meitei for 'Khamba capturing Kao bull') is a 2001 oil canvas painting by Manipuri artists, M Betombi Singh and Gopal Sharma. The painting shows the capture of powerful Kao bull by hero Khamba. It is one of the most well known museum series "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya in India. It was exhibited for a whole month of July, 2019.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: How does Khambana Kao Phaba (painting) explain its abstract?

The Khambana Kao Phaba (Meitei for 'Khamba capturing Kao bull') is a 2001 oil canvas painting by Manipuri artists, M Betombi Singh and Gopal Sharma. The painting shows the capture of powerful Kao bull by hero Khamba. It is one of the most well known museum series "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya in India. It was exhibited for a whole month of July, 2019.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: In Khambana Kao Phaba (painting), how is the abstract discussed?

The Khambana Kao Phaba (Meitei for 'Khamba capturing Kao bull') is a 2001 oil canvas painting by Manipuri artists, M Betombi Singh and Gopal Sharma. The painting shows the capture of powerful Kao bull by hero Khamba. It is one of the most well known museum series "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya in India. It was exhibited for a whole month of July, 2019.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: Focus on Khambana Kao Phaba (painting) and explain the Title and subject.

The painting shows an epic legend of Ancient Moirang Kingdom. Angom Nongban Kongyamba, the villain, was jealous of Khuman Khamba, the hero. So, he set a death-trap of Khamba. The hero was asked to capture the giant bull. But Kongyamba's dream of Khamba being killed by the bull was not fulfilled. Khamba knew the secrecy of the bull. The bull was once the head of Khamba's father's cattle herd. During the capture, Khamba whispered his father's name to the bull's ear. He also showed a silk rope to the bull. The bull recognised Khamba. So, the wild beast was tamed.

Category:Meitei folklore in popular culture

Indira Gandhi Rashtriya Manav Sangrahalaya

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: Explain the Title and subject of this artwork, Khambana Kao Phaba (painting).

The painting shows an epic legend of Ancient Moirang Kingdom. Angom Nongban Kongyamba, the villain, was jealous of Khuman Khamba, the hero. So, he set a death-trap of Khamba. The hero was asked to capture the giant bull. But Kongyamba's dream of Khamba being killed by the bull was not fulfilled. Khamba knew the secrecy of the bull. The bull was once the head of Khamba's father's cattle herd. During the capture, Khamba whispered his father's name to the bull's ear. He also showed a silk rope to the bull. The bull recognised Khamba. So, the wild beast was tamed.

Category:Meitei folklore in popular culture

Indira Gandhi Rashtriya Manav Sangrahalaya

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: How does Khambana Kao Phaba (painting) explain its Title and subject?

The painting shows an epic legend of Ancient Moirang Kingdom. Angom Nongban Kongyamba, the villain, was jealous of Khuman Khamba, the hero. So, he set a death-trap of Khamba. The hero was asked to capture the giant bull. But Kongyamba's dream of Khamba being killed by the bull was not fulfilled. Khamba knew the secrecy of the bull. The bull was once the head of Khamba's father's cattle herd. During the capture, Khamba whispered his father's name to the bull's ear. He also showed a silk rope to the bull. The bull recognised Khamba. So, the wild beast was tamed.

Category:Meitei folklore in popular culture

Indira Gandhi Rashtriya Manav Sangrahalaya

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: In Khambana Kao Phaba (painting), how is the Title and subject discussed?

The painting shows an epic legend of Ancient Moirang Kingdom. Angom Nongban Kongyamba, the villain, was jealous of Khuman Khamba, the hero. So, he set a death-trap of Khamba. The hero was asked to capture the giant bull. But Kongyamba's dream of Khamba being killed by the bull was not fulfilled. Khamba knew the secrecy of the bull. The bull was once the head of Khamba's father's cattle herd. During the capture, Khamba whispered his father's name to the bull's ear. He also showed a silk rope to the bull. The bull recognised Khamba. So, the wild beast was tamed.

Category:Meitei folklore in popular culture

Indira Gandhi Rashtriya Manav Sangrahalaya

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: Focus on Khambana Kao Phaba (painting) and explain the History.

The artwork was painted by late artist M Betombi Singh in the Sana Konung Palace in Imphal, Manipur. The artist was 93 years old when he completed the artwork. In 2001, the painting was registered into the permanent collection of the Indira Gandhi Rashtriya Manav Sangrahalaya Museum. After that, the artwork was visited by many well known people including RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The painting was kept in Veeth Sankul indoor exhibitions and library of the museum.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: Explain the History of this artwork, Khambana Kao Phaba (painting).

The artwork was painted by late artist M Betombi Singh in the Sana Konung Palace in Imphal, Manipur. The artist was 93 years old when he completed the artwork. In 2001, the painting was registered into the permanent collection of the Indira Gandhi Rashtriya Manav Sangrahalaya Museum. After that, the artwork was visited by many well known people including RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The painting was kept in Veeth Sankul indoor exhibitions and library of the museum.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: How does Khambana Kao Phaba (painting) explain its History?

The artwork was painted by late artist M Betombi Singh in the Sana Konung Palace in Imphal, Manipur. The artist was 93 years old when he completed the artwork. In 2001, the painting was registered into the permanent collection of the Indira Gandhi Rashtriya Manav Sangrahalaya Museum. After that, the artwork was visited by many well known people including RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The painting was kept in Veeth Sankul indoor exhibitions and library of the museum.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: In Khambana Kao Phaba (painting), how is the History discussed?

The artwork was painted by late artist M Betombi Singh in the Sana Konung Palace in Imphal, Manipur. The artist was 93 years old when he completed the artwork. In 2001, the painting was registered into the permanent collection of the Indira Gandhi Rashtriya Manav Sangrahalaya Museum. After that, the artwork was visited by many well known people including RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The painting was kept in Veeth Sankul indoor exhibitions and library of the museum.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: Focus on Khambana Kao Phaba (painting) and explain the Exhibition.

In July 2019, the painting was introduced as the "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya by RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The exhibition was curated by Nongmaithem Sakamacha. Sakamacha was the Museum Associate of Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal, India.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: Explain the Exhibition of this artwork, Khambana Kao Phaba (painting).

In July 2019, the painting was introduced as the "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya by RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The exhibition was curated by Nongmaithem Sakamacha. Sakamacha was the Museum Associate of Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal, India.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: How does Khambana Kao Phaba (painting) explain its Exhibition?

In July 2019, the painting was introduced as the "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya by RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The exhibition was curated by Nongmaithem Sakamacha. Sakamacha was the Museum Associate of Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal, India.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Khambana Kao Phaba (painting)

Prompt: In Khambana Kao Phaba (painting), how is the Exhibition discussed?

In July 2019, the painting was introduced as the "Exhibit of the Month" of the Indira Gandhi Rashtriya Manav Sangrahalaya by RK Chaturvedi, AS&FA, Union Ministry of Culture of India. The exhibition was curated by Nongmaithem Sakamacha. Sakamacha was the Museum Associate of Indira Gandhi Rashtriya Manav Sangrahalaya, Bhopal, India.

Category:Meitei folklore in popular culture

Category:Meitei mythology in popular culture


Tanagra (Gérôme sculpture)

Prompt: Focus on Tanagra (Gérôme sculpture) and explain the abstract.

Tanagra is a polychromic marble sculpture created by French artist Jean-Léon Gérôme (1824–1904) as a personification of the "spirit of Tanagra," his own mythic invention tied to the Tanagra figurines from the village of that name in ancient Greece. The sculpture was first shown at the Paris Salon of 1890. Gérôme subsequently created smaller, gilded bronze versions of Tanagra; several versions of the "Hoop Dancer" figurine held by Tanagra; two paintings of an imaginary ancient Tanagra workshop; and two self-portraits of himself sculpting Tanagra from a living model in his Paris atelier. These sculptures and paintings comprise a complex, self-referential artistic program in which one of the most celebrated artists of his generation explored reception of Classical antiquity, creative inspiration, doppelgängers, and female beauty.Tanagra is displayed at the Musée d'Orsay. Much of the polychromy has faded, and the hoop dancer is damaged (part of the hoop and right arm are missing.)

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: Explain the abstract of this artwork, Tanagra (Gérôme sculpture).

Tanagra is a polychromic marble sculpture created by French artist Jean-Léon Gérôme (1824–1904) as a personification of the "spirit of Tanagra," his own mythic invention tied to the Tanagra figurines from the village of that name in ancient Greece. The sculpture was first shown at the Paris Salon of 1890. Gérôme subsequently created smaller, gilded bronze versions of Tanagra; several versions of the "Hoop Dancer" figurine held by Tanagra; two paintings of an imaginary ancient Tanagra workshop; and two self-portraits of himself sculpting Tanagra from a living model in his Paris atelier. These sculptures and paintings comprise a complex, self-referential artistic program in which one of the most celebrated artists of his generation explored reception of Classical antiquity, creative inspiration, doppelgängers, and female beauty.Tanagra is displayed at the Musée d'Orsay. Much of the polychromy has faded, and the hoop dancer is damaged (part of the hoop and right arm are missing.)

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay


Tanagra (Gérôme sculpture)

Prompt: How does Tanagra (Gérôme sculpture) explain its abstract?

Tanagra is a polychromic marble sculpture created by French artist Jean-Léon Gérôme (1824–1904) as a personification of the "spirit of Tanagra," his own mythic invention tied to the Tanagra figurines from the village of that name in ancient Greece. The sculpture was first shown at the Paris Salon of 1890. Gérôme subsequently created smaller, gilded bronze versions of Tanagra; several versions of the "Hoop Dancer" figurine held by Tanagra; two paintings of an imaginary ancient Tanagra workshop; and two self-portraits of himself sculpting Tanagra from a living model in his Paris atelier. These sculptures and paintings comprise a complex, self-referential artistic program in which one of the most celebrated artists of his generation explored reception of Classical antiquity, creative inspiration, doppelgängers, and female beauty.Tanagra is displayed at the Musée d'Orsay. Much of the polychromy has faded, and the hoop dancer is damaged (part of the hoop and right arm are missing.)

''Pygmalion and Galatea'' (Gérôme painting)

File:L0394 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

File:L0393 - Musée d'Orsay - Tanagra par Jean Léon Gérome.JPG

Veiled dancer, Tanagra terra cotta figure, 7 inches high, c. 150-100 B.C.E, [[Louvre

''Hoop Dancer'', c. 1893, by Jean-Léon Gérôme, [[Haggin Museum

File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg

File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg

Close-up of the damaged, polychrome hoop dancer held by ''Tanagra'', [[Musée d'Orsay