Passy, Bridges of Paris

Prompt: Explain the Cubist factions of this artwork, Passy, Bridges of Paris.

Disparate inspirations during a proto-Cubist phase had already yielded several related methods of expressing the geometric experience (what Gleizes and Metzinger would soon attribute to mobile perspective). Cubism was in the eye of the beholder; it could be seen as a process, a system, a state of mind, an inspired attitude that would develop a new symbolic structure, a reflection of the changing world.Despite their similarities, works produced by diverse artists were neither homogeneous nor isotropic. This venture was essentially nonlinear. Cubism was omnidirectional, growing like a tree with many branches. The progression of each artist was unique. Even when paths would cross, artists would not necessarily fall under one another's influence. Despite a growing awareness, a 'collective consciousness' based on a nonacademic passion for structure and mobility, and despite the sense of group unity that would attain a maxima circa 1912, deep-seated differences arose sporadically, often fueled by critics and dealers.In Albert Gleizes, 1881-1953, A Retrospective Exhibition, Solomon R. Guggenheim Museum curator and art historian Daniel Robbins writes of Passy:A synthesis of the modern city with its smoke, river and steel bridges, this work probably refers also to the spirit of solidarity among the newly formed "Artists of Passy". In this sense it indicates an awareness of factions within Cubism. (Robbins, 1964)The participation of many artists, in addition to Metzinger, Gleizes and the Duchamp brothers, in the formation of the association Les Artistes de Passy in October 1912 was an attempt to transform the Passy district of Paris into yet another art-centre; a further sign of a growing emphasis on communal activity that would culminate in the Section d'Or exhibition. Les Artistes de Passy was a further sign too, as Robbins points out, of the growing rift that separated the Salon Cubists (Metzinger, Gleizes, Le Fauconnier, Delaunay, Léger and others) from the Gallery Cubists (Picasso and Braque). There was a distinct difference between the Salon Cubists and Kahnweiler’s Cubists. The latter had mostly been seen by a small group of artists and connoisseurs in a small private gallery, generating only modest reviews in the press, while the impact of the Salon group in the printed press and general public was enormous. Kahnweiler had exclusivity contracts with his artists and sold only to a small circle of collectors from his small "boutique" (Gleizes' term) comparatively hidden behind La Madeleine. Works of the Salon Cubists were seen by tens of thousands of spectators during well-publicized, conspicuous and prominent events such as the Salon d'Automne and Salon des Indépendants. Picasso and Barque were kept away from the Salons by Kahnweiler for fear of ridicule and for financial reasons (exclusivity guaranteed commission).Metzinger's Le goûter (Tea Time) "was far more famous than any painting that Picasso and Braque had made up until this time; because Picasso and Braque, by not showing at the Salons, have actually removed themselves from the public... For most people, the idea of Cubism was actually associated with an artist like Metzinger, far more than Picasso." (Michael Taylor, 2010, Curator Philadelphia Museum of Art)While financial support from Kahnweiler's gallery sales gave Picasso and Braque the freedom to experiment in relative privacy, the highly publicized Salon Cubists were free to experiment in public and sell works directly from their studios and Salons.The immense Cubist manifestation called Salon de la Section d'Or of 1912 (an exhibition organized by Metzinger, Gleizes and the Duchamp brothers) took place at the centrally located Galerie de la Boétie in a prominent gallery district of Paris. This gallery showing by Salon Cubists may have been seen as a threat by Kahnweiler, since it marked the beginning of decades of personal attacks targeting artists not associated with his gallery.At stake, beyond commercial speculation and financial profit, were the questions of when Cubism began, who led the way in its development, what distinguishes Cubist art, how it can be defined and who can be called Cubist. By marginalizing the contribution of the artists who exhibited at the Salon des Indépendants and Salon d'Automne, Kahnweiler's attempted to focus attention on Picasso and Braque, those who played a leading if independent role in the development of this new mode of expression. To some extent Kahnweiler had succeeded in his endeavor, prompting historians such as Douglas Cooper to coin the term ‘true’ Cubism to describe the work of Picasso and Braque. The implied value judgement was intentional.This restricted view of Cubism has since been replaced by more contemporary alternative interpretations of Cubism, more complex and heteroclite; formed to some degree in response to the more publicized Salon Cubists, whose methods were too distinct from those of the Gallery Cubists to be considered merely secondary to them.Salon Cubists produced a different kinds of Cubism. It is not clear to what extent these Cubists depended on Picasso and Braque for their development of such techniques as faceting, ‘passage’ and multiple perspective. They could well have arrived at such practices with little knowledge of Picasso and Braque, guided by their own understanding of Cézanne. The works produced by these other Cubists exhibited at the 1911 and 1912 Salons extended beyond the conventional Cézannian range of subjects chosen by Picasso and Braque to include large-scale allegoric and modern-life subjects. "Aimed at a large Salon public", writes art historian Christopher Green, "these works made clear use of Cubist techniques of faceting and multiple perspective for expressive effect in order to preserve the eloquence of subjects that were richly endowed with literary and philosophical connotations". The Salon Cubists were attuned to the philosopher Henri Bergson's notion of ‘duration’, according to which life is subjectively experienced as a continuous forward movement in time, with the past flowing into the present and the present merging into the future. In Du "Cubisme" Gleizes and Metzinger explicitly related this sense of time to multiple perspective. "The one major innovation that one can be sure was made independently by the Salon Cubists, that of ‘simultaneity’, came of a conviction also rooted in their understanding of Bergson that the divisions of space and time should be comprehensively challenged." Green continues: "The conjunction of such subject-matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; these Italian works, though themselves made in response to early Cubism, led the way in the application of techniques of simultaneity in 1911–12".'What is necessary', writes Gleizes, 'is to take everything up again from the foundations and to start out from the unquestionable reality of two currents which, unaware of each other, were finally enfolded under a single heading, the movement that was called 'Cubism'. You can then avoid confusion if, right from the start, you make the distinctions that must, in all honesty, be acknowledged. The history of the 'Bâteau Lavoir' belongs to those who were part of that particular grouping. Personally, I only know what has been said about this history; I do not know the details, nor did my comrades of the other group Metzinger, Delaunay, Le Fauconnier and Léger... But what I do know well, because I lived it and remember it perfectly, is the origin of our relations and their development to 1914, passing by the notorious Room 41 of the Indépendants of 1911, which provoked the 'involuntary scandal' out of which Cubism really emerged and spread in Paris, in France and through the world... (Albert GleizesGleizes continues in an unpublished 1917 paper:Speculators with their own interests and the idiocy [sottise] of painters who played their game created a legend which up to now has never openly been challenged. It proclaimed that the entire movement of plastic art of our time had been thrown into confusion by the discoveries above-mentioned. Their inventor was made into the pivot of the movement which was being built. Everything came from him, he had foreseen everything and outside his genius the rest was nothing but pastiche and followers. The truth, however, is that it was the appearance of a group that gave the twist of the helm to the new aspirations. It was not the work of an isolated figure who presided over the mystery of a boutique, who surrounded himself with thick veils and acted on some sniffer dogs [flaireurs] and dupes, but rather the brutal appearance in broad daylight of a coherent group [ensemble homogène] who did not claim to be displaying masterpieces but wanted to witness a fervent discipline, a new order. [...] On one side, the talk was all of the moderns and the negroes, on the other it was of the cathedrals and the solidity [sureté] of David and Ingres. (Albert Gleizes)

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: How does Passy, Bridges of Paris explain its Cubist factions?

Disparate inspirations during a proto-Cubist phase had already yielded several related methods of expressing the geometric experience (what Gleizes and Metzinger would soon attribute to mobile perspective). Cubism was in the eye of the beholder; it could be seen as a process, a system, a state of mind, an inspired attitude that would develop a new symbolic structure, a reflection of the changing world.Despite their similarities, works produced by diverse artists were neither homogeneous nor isotropic. This venture was essentially nonlinear. Cubism was omnidirectional, growing like a tree with many branches. The progression of each artist was unique. Even when paths would cross, artists would not necessarily fall under one another's influence. Despite a growing awareness, a 'collective consciousness' based on a nonacademic passion for structure and mobility, and despite the sense of group unity that would attain a maxima circa 1912, deep-seated differences arose sporadically, often fueled by critics and dealers.In Albert Gleizes, 1881-1953, A Retrospective Exhibition, Solomon R. Guggenheim Museum curator and art historian Daniel Robbins writes of Passy:A synthesis of the modern city with its smoke, river and steel bridges, this work probably refers also to the spirit of solidarity among the newly formed "Artists of Passy". In this sense it indicates an awareness of factions within Cubism. (Robbins, 1964)The participation of many artists, in addition to Metzinger, Gleizes and the Duchamp brothers, in the formation of the association Les Artistes de Passy in October 1912 was an attempt to transform the Passy district of Paris into yet another art-centre; a further sign of a growing emphasis on communal activity that would culminate in the Section d'Or exhibition. Les Artistes de Passy was a further sign too, as Robbins points out, of the growing rift that separated the Salon Cubists (Metzinger, Gleizes, Le Fauconnier, Delaunay, Léger and others) from the Gallery Cubists (Picasso and Braque). There was a distinct difference between the Salon Cubists and Kahnweiler’s Cubists. The latter had mostly been seen by a small group of artists and connoisseurs in a small private gallery, generating only modest reviews in the press, while the impact of the Salon group in the printed press and general public was enormous. Kahnweiler had exclusivity contracts with his artists and sold only to a small circle of collectors from his small "boutique" (Gleizes' term) comparatively hidden behind La Madeleine. Works of the Salon Cubists were seen by tens of thousands of spectators during well-publicized, conspicuous and prominent events such as the Salon d'Automne and Salon des Indépendants. Picasso and Barque were kept away from the Salons by Kahnweiler for fear of ridicule and for financial reasons (exclusivity guaranteed commission).Metzinger's Le goûter (Tea Time) "was far more famous than any painting that Picasso and Braque had made up until this time; because Picasso and Braque, by not showing at the Salons, have actually removed themselves from the public... For most people, the idea of Cubism was actually associated with an artist like Metzinger, far more than Picasso." (Michael Taylor, 2010, Curator Philadelphia Museum of Art)While financial support from Kahnweiler's gallery sales gave Picasso and Braque the freedom to experiment in relative privacy, the highly publicized Salon Cubists were free to experiment in public and sell works directly from their studios and Salons.The immense Cubist manifestation called Salon de la Section d'Or of 1912 (an exhibition organized by Metzinger, Gleizes and the Duchamp brothers) took place at the centrally located Galerie de la Boétie in a prominent gallery district of Paris. This gallery showing by Salon Cubists may have been seen as a threat by Kahnweiler, since it marked the beginning of decades of personal attacks targeting artists not associated with his gallery.At stake, beyond commercial speculation and financial profit, were the questions of when Cubism began, who led the way in its development, what distinguishes Cubist art, how it can be defined and who can be called Cubist. By marginalizing the contribution of the artists who exhibited at the Salon des Indépendants and Salon d'Automne, Kahnweiler's attempted to focus attention on Picasso and Braque, those who played a leading if independent role in the development of this new mode of expression. To some extent Kahnweiler had succeeded in his endeavor, prompting historians such as Douglas Cooper to coin the term ‘true’ Cubism to describe the work of Picasso and Braque. The implied value judgement was intentional.This restricted view of Cubism has since been replaced by more contemporary alternative interpretations of Cubism, more complex and heteroclite; formed to some degree in response to the more publicized Salon Cubists, whose methods were too distinct from those of the Gallery Cubists to be considered merely secondary to them.Salon Cubists produced a different kinds of Cubism. It is not clear to what extent these Cubists depended on Picasso and Braque for their development of such techniques as faceting, ‘passage’ and multiple perspective. They could well have arrived at such practices with little knowledge of Picasso and Braque, guided by their own understanding of Cézanne. The works produced by these other Cubists exhibited at the 1911 and 1912 Salons extended beyond the conventional Cézannian range of subjects chosen by Picasso and Braque to include large-scale allegoric and modern-life subjects. "Aimed at a large Salon public", writes art historian Christopher Green, "these works made clear use of Cubist techniques of faceting and multiple perspective for expressive effect in order to preserve the eloquence of subjects that were richly endowed with literary and philosophical connotations". The Salon Cubists were attuned to the philosopher Henri Bergson's notion of ‘duration’, according to which life is subjectively experienced as a continuous forward movement in time, with the past flowing into the present and the present merging into the future. In Du "Cubisme" Gleizes and Metzinger explicitly related this sense of time to multiple perspective. "The one major innovation that one can be sure was made independently by the Salon Cubists, that of ‘simultaneity’, came of a conviction also rooted in their understanding of Bergson that the divisions of space and time should be comprehensively challenged." Green continues: "The conjunction of such subject-matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; these Italian works, though themselves made in response to early Cubism, led the way in the application of techniques of simultaneity in 1911–12".'What is necessary', writes Gleizes, 'is to take everything up again from the foundations and to start out from the unquestionable reality of two currents which, unaware of each other, were finally enfolded under a single heading, the movement that was called 'Cubism'. You can then avoid confusion if, right from the start, you make the distinctions that must, in all honesty, be acknowledged. The history of the 'Bâteau Lavoir' belongs to those who were part of that particular grouping. Personally, I only know what has been said about this history; I do not know the details, nor did my comrades of the other group Metzinger, Delaunay, Le Fauconnier and Léger... But what I do know well, because I lived it and remember it perfectly, is the origin of our relations and their development to 1914, passing by the notorious Room 41 of the Indépendants of 1911, which provoked the 'involuntary scandal' out of which Cubism really emerged and spread in Paris, in France and through the world... (Albert GleizesGleizes continues in an unpublished 1917 paper:Speculators with their own interests and the idiocy [sottise] of painters who played their game created a legend which up to now has never openly been challenged. It proclaimed that the entire movement of plastic art of our time had been thrown into confusion by the discoveries above-mentioned. Their inventor was made into the pivot of the movement which was being built. Everything came from him, he had foreseen everything and outside his genius the rest was nothing but pastiche and followers. The truth, however, is that it was the appearance of a group that gave the twist of the helm to the new aspirations. It was not the work of an isolated figure who presided over the mystery of a boutique, who surrounded himself with thick veils and acted on some sniffer dogs [flaireurs] and dupes, but rather the brutal appearance in broad daylight of a coherent group [ensemble homogène] who did not claim to be displaying masterpieces but wanted to witness a fervent discipline, a new order. [...] On one side, the talk was all of the moderns and the negroes, on the other it was of the cathedrals and the solidity [sureté] of David and Ingres. (Albert Gleizes)

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: In Passy, Bridges of Paris, how is the Cubist factions discussed?

Disparate inspirations during a proto-Cubist phase had already yielded several related methods of expressing the geometric experience (what Gleizes and Metzinger would soon attribute to mobile perspective). Cubism was in the eye of the beholder; it could be seen as a process, a system, a state of mind, an inspired attitude that would develop a new symbolic structure, a reflection of the changing world.Despite their similarities, works produced by diverse artists were neither homogeneous nor isotropic. This venture was essentially nonlinear. Cubism was omnidirectional, growing like a tree with many branches. The progression of each artist was unique. Even when paths would cross, artists would not necessarily fall under one another's influence. Despite a growing awareness, a 'collective consciousness' based on a nonacademic passion for structure and mobility, and despite the sense of group unity that would attain a maxima circa 1912, deep-seated differences arose sporadically, often fueled by critics and dealers.In Albert Gleizes, 1881-1953, A Retrospective Exhibition, Solomon R. Guggenheim Museum curator and art historian Daniel Robbins writes of Passy:A synthesis of the modern city with its smoke, river and steel bridges, this work probably refers also to the spirit of solidarity among the newly formed "Artists of Passy". In this sense it indicates an awareness of factions within Cubism. (Robbins, 1964)The participation of many artists, in addition to Metzinger, Gleizes and the Duchamp brothers, in the formation of the association Les Artistes de Passy in October 1912 was an attempt to transform the Passy district of Paris into yet another art-centre; a further sign of a growing emphasis on communal activity that would culminate in the Section d'Or exhibition. Les Artistes de Passy was a further sign too, as Robbins points out, of the growing rift that separated the Salon Cubists (Metzinger, Gleizes, Le Fauconnier, Delaunay, Léger and others) from the Gallery Cubists (Picasso and Braque). There was a distinct difference between the Salon Cubists and Kahnweiler’s Cubists. The latter had mostly been seen by a small group of artists and connoisseurs in a small private gallery, generating only modest reviews in the press, while the impact of the Salon group in the printed press and general public was enormous. Kahnweiler had exclusivity contracts with his artists and sold only to a small circle of collectors from his small "boutique" (Gleizes' term) comparatively hidden behind La Madeleine. Works of the Salon Cubists were seen by tens of thousands of spectators during well-publicized, conspicuous and prominent events such as the Salon d'Automne and Salon des Indépendants. Picasso and Barque were kept away from the Salons by Kahnweiler for fear of ridicule and for financial reasons (exclusivity guaranteed commission).Metzinger's Le goûter (Tea Time) "was far more famous than any painting that Picasso and Braque had made up until this time; because Picasso and Braque, by not showing at the Salons, have actually removed themselves from the public... For most people, the idea of Cubism was actually associated with an artist like Metzinger, far more than Picasso." (Michael Taylor, 2010, Curator Philadelphia Museum of Art)While financial support from Kahnweiler's gallery sales gave Picasso and Braque the freedom to experiment in relative privacy, the highly publicized Salon Cubists were free to experiment in public and sell works directly from their studios and Salons.The immense Cubist manifestation called Salon de la Section d'Or of 1912 (an exhibition organized by Metzinger, Gleizes and the Duchamp brothers) took place at the centrally located Galerie de la Boétie in a prominent gallery district of Paris. This gallery showing by Salon Cubists may have been seen as a threat by Kahnweiler, since it marked the beginning of decades of personal attacks targeting artists not associated with his gallery.At stake, beyond commercial speculation and financial profit, were the questions of when Cubism began, who led the way in its development, what distinguishes Cubist art, how it can be defined and who can be called Cubist. By marginalizing the contribution of the artists who exhibited at the Salon des Indépendants and Salon d'Automne, Kahnweiler's attempted to focus attention on Picasso and Braque, those who played a leading if independent role in the development of this new mode of expression. To some extent Kahnweiler had succeeded in his endeavor, prompting historians such as Douglas Cooper to coin the term ‘true’ Cubism to describe the work of Picasso and Braque. The implied value judgement was intentional.This restricted view of Cubism has since been replaced by more contemporary alternative interpretations of Cubism, more complex and heteroclite; formed to some degree in response to the more publicized Salon Cubists, whose methods were too distinct from those of the Gallery Cubists to be considered merely secondary to them.Salon Cubists produced a different kinds of Cubism. It is not clear to what extent these Cubists depended on Picasso and Braque for their development of such techniques as faceting, ‘passage’ and multiple perspective. They could well have arrived at such practices with little knowledge of Picasso and Braque, guided by their own understanding of Cézanne. The works produced by these other Cubists exhibited at the 1911 and 1912 Salons extended beyond the conventional Cézannian range of subjects chosen by Picasso and Braque to include large-scale allegoric and modern-life subjects. "Aimed at a large Salon public", writes art historian Christopher Green, "these works made clear use of Cubist techniques of faceting and multiple perspective for expressive effect in order to preserve the eloquence of subjects that were richly endowed with literary and philosophical connotations". The Salon Cubists were attuned to the philosopher Henri Bergson's notion of ‘duration’, according to which life is subjectively experienced as a continuous forward movement in time, with the past flowing into the present and the present merging into the future. In Du "Cubisme" Gleizes and Metzinger explicitly related this sense of time to multiple perspective. "The one major innovation that one can be sure was made independently by the Salon Cubists, that of ‘simultaneity’, came of a conviction also rooted in their understanding of Bergson that the divisions of space and time should be comprehensively challenged." Green continues: "The conjunction of such subject-matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; these Italian works, though themselves made in response to early Cubism, led the way in the application of techniques of simultaneity in 1911–12".'What is necessary', writes Gleizes, 'is to take everything up again from the foundations and to start out from the unquestionable reality of two currents which, unaware of each other, were finally enfolded under a single heading, the movement that was called 'Cubism'. You can then avoid confusion if, right from the start, you make the distinctions that must, in all honesty, be acknowledged. The history of the 'Bâteau Lavoir' belongs to those who were part of that particular grouping. Personally, I only know what has been said about this history; I do not know the details, nor did my comrades of the other group Metzinger, Delaunay, Le Fauconnier and Léger... But what I do know well, because I lived it and remember it perfectly, is the origin of our relations and their development to 1914, passing by the notorious Room 41 of the Indépendants of 1911, which provoked the 'involuntary scandal' out of which Cubism really emerged and spread in Paris, in France and through the world... (Albert GleizesGleizes continues in an unpublished 1917 paper:Speculators with their own interests and the idiocy [sottise] of painters who played their game created a legend which up to now has never openly been challenged. It proclaimed that the entire movement of plastic art of our time had been thrown into confusion by the discoveries above-mentioned. Their inventor was made into the pivot of the movement which was being built. Everything came from him, he had foreseen everything and outside his genius the rest was nothing but pastiche and followers. The truth, however, is that it was the appearance of a group that gave the twist of the helm to the new aspirations. It was not the work of an isolated figure who presided over the mystery of a boutique, who surrounded himself with thick veils and acted on some sniffer dogs [flaireurs] and dupes, but rather the brutal appearance in broad daylight of a coherent group [ensemble homogène] who did not claim to be displaying masterpieces but wanted to witness a fervent discipline, a new order. [...] On one side, the talk was all of the moderns and the negroes, on the other it was of the cathedrals and the solidity [sureté] of David and Ingres. (Albert Gleizes)

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: Focus on Passy, Bridges of Paris and explain the Provenance.

Sidney Janis Gallery, New YorkMuseum des 20. Jahrhunderts, Vienna

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: Explain the Provenance of this artwork, Passy, Bridges of Paris.

Sidney Janis Gallery, New YorkMuseum des 20. Jahrhunderts, Vienna

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: How does Passy, Bridges of Paris explain its Provenance?

Sidney Janis Gallery, New YorkMuseum des 20. Jahrhunderts, Vienna

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: In Passy, Bridges of Paris, how is the Provenance discussed?

Sidney Janis Gallery, New YorkMuseum des 20. Jahrhunderts, Vienna

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: Focus on Passy, Bridges of Paris and explain the Exhibitions.

Société Normande de Peinture Moderne, Rouen, 15 June - 15 July 1912 (no. 91, titled Passy)Salon de la Section d'Or, Galerie La Boétie, Paris, 10–30 October 1912 (no. 41, titled Passy)Manes Moderni Umeni, Vystava, Prague, February - March 1914 (no. 35, titled Paysage à Passy)Der Sturm, Berlin, July, 1914.Kunst von 1900 bis Heute, Museum des 20. Jahrhunderts, Vienna, 1962, no. 58.The Solomon R. Guggenheim Museum, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, The Solomon R. Guggenheim Foundation, New York. This exhibition traveled to Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964-1965

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: Explain the Exhibitions of this artwork, Passy, Bridges of Paris.

Société Normande de Peinture Moderne, Rouen, 15 June - 15 July 1912 (no. 91, titled Passy)Salon de la Section d'Or, Galerie La Boétie, Paris, 10–30 October 1912 (no. 41, titled Passy)Manes Moderni Umeni, Vystava, Prague, February - March 1914 (no. 35, titled Paysage à Passy)Der Sturm, Berlin, July, 1914.Kunst von 1900 bis Heute, Museum des 20. Jahrhunderts, Vienna, 1962, no. 58.The Solomon R. Guggenheim Museum, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, The Solomon R. Guggenheim Foundation, New York. This exhibition traveled to Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964-1965

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: How does Passy, Bridges of Paris explain its Exhibitions?

Société Normande de Peinture Moderne, Rouen, 15 June - 15 July 1912 (no. 91, titled Passy)Salon de la Section d'Or, Galerie La Boétie, Paris, 10–30 October 1912 (no. 41, titled Passy)Manes Moderni Umeni, Vystava, Prague, February - March 1914 (no. 35, titled Paysage à Passy)Der Sturm, Berlin, July, 1914.Kunst von 1900 bis Heute, Museum des 20. Jahrhunderts, Vienna, 1962, no. 58.The Solomon R. Guggenheim Museum, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, The Solomon R. Guggenheim Foundation, New York. This exhibition traveled to Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964-1965

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: In Passy, Bridges of Paris, how is the Exhibitions discussed?

Société Normande de Peinture Moderne, Rouen, 15 June - 15 July 1912 (no. 91, titled Passy)Salon de la Section d'Or, Galerie La Boétie, Paris, 10–30 October 1912 (no. 41, titled Passy)Manes Moderni Umeni, Vystava, Prague, February - March 1914 (no. 35, titled Paysage à Passy)Der Sturm, Berlin, July, 1914.Kunst von 1900 bis Heute, Museum des 20. Jahrhunderts, Vienna, 1962, no. 58.The Solomon R. Guggenheim Museum, Albert Gleizes 1881 – 1953, A Retrospective Exhibition, The Solomon R. Guggenheim Foundation, New York. This exhibition traveled to Musée National d'Art Moderne, Paris, Museum am Ostwall, Dortmund, 1964-1965

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: Focus on Passy, Bridges of Paris and explain the Literature.

Albert Gleizes and Jean Metzinger, Du "Cubisme", Paris, 1912, p. 105.Apollinaire, G. Paris-Journal, 1914, (cf. Chroniques d'Art, 1960, p. 405).Golding, J. Cubism, London, 1959, p. 158.

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: Explain the Literature of this artwork, Passy, Bridges of Paris.

Albert Gleizes and Jean Metzinger, Du "Cubisme", Paris, 1912, p. 105.Apollinaire, G. Paris-Journal, 1914, (cf. Chroniques d'Art, 1960, p. 405).Golding, J. Cubism, London, 1959, p. 158.

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: How does Passy, Bridges of Paris explain its Literature?

Albert Gleizes and Jean Metzinger, Du "Cubisme", Paris, 1912, p. 105.Apollinaire, G. Paris-Journal, 1914, (cf. Chroniques d'Art, 1960, p. 405).Golding, J. Cubism, London, 1959, p. 158.

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Passy, Bridges of Paris

Prompt: In Passy, Bridges of Paris, how is the Literature discussed?

Albert Gleizes and Jean Metzinger, Du "Cubisme", Paris, 1912, p. 105.Apollinaire, G. Paris-Journal, 1914, (cf. Chroniques d'Art, 1960, p. 405).Golding, J. Cubism, London, 1959, p. 158.

File:Panorama of Paris, view from the Trocadero towards Passy.jpg

File:Pablo Picasso, 1913, Bouteille, clarinette, violon, journal, verre.jpg

File:Albert Gleizes, 1911, Paysage (Landscape), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue Galeries Dalmau, Barcelona, 1912.jpg

File:ND 1053 - Panorama de PARIS - Vue sur la Seine et Passy prise en aval de la Tour Eiffel.jpg

File:Fernand Léger, 1911, Roofs in Paris, oil on canvas, private collection.jpg

Panorama of Paris, view from the [[Trocadéro, Paris

Portrait de l’éditeur Eugène Figuière (Gleizes)

File:Francis Picabia, 1912, Tarentelle, oil on canvas, 73.6 x 92.1 cm, Museum of Modern Art, New York.jpg

File:Georges Braque, 1912, Violin, Mozart Kubelick, oil on canvas, 45.7 x 61 cm (18 x 24 in), Metropolitan Museum of Art.jpg

Le Chemin, Paysage à Meudon, Paysage avec personnage

Albert Gleizes, 1911, ''Paysage'' (''Landscape''), oil on canvas, 71 x 91.5 cm. Reproduced frontispiece catalogue [[Galeries Dalmau


Ring of Time

Prompt: Focus on Ring of Time and explain the abstract.

Ring of Time, also known as The Ring of Time, is an outdoor bronze sculpture by Hilda Grossman Morris, located at the entrance to the Standard Plaza in Portland, Oregon. The allegorical sculpture was created during 1965–1967 and is owned by the Standard Insurance Company.

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: Explain the abstract of this artwork, Ring of Time.

Ring of Time, also known as The Ring of Time, is an outdoor bronze sculpture by Hilda Grossman Morris, located at the entrance to the Standard Plaza in Portland, Oregon. The allegorical sculpture was created during 1965–1967 and is owned by the Standard Insurance Company.

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: How does Ring of Time explain its abstract?

Ring of Time, also known as The Ring of Time, is an outdoor bronze sculpture by Hilda Grossman Morris, located at the entrance to the Standard Plaza in Portland, Oregon. The allegorical sculpture was created during 1965–1967 and is owned by the Standard Insurance Company.

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: In Ring of Time, how is the abstract discussed?

Ring of Time, also known as The Ring of Time, is an outdoor bronze sculpture by Hilda Grossman Morris, located at the entrance to the Standard Plaza in Portland, Oregon. The allegorical sculpture was created during 1965–1967 and is owned by the Standard Insurance Company.

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: Focus on Ring of Time and explain the Description and history.

Ring of Time is a monumental bronze sculpture installed in the outer foyer of the Standard Plaza on Southwest 6th between Madison and Main in Downtown Portland's Transit Mall. It was designed by Hilda Grossman Morris and created during 1965–1967. The allegorical sculpture, which represents time, is 120 inches (3.0 m) tall and owned by the Standard Insurance Company. Portland Tribune has described the sculpture as "rough" and "primitive", as well as "chunky, clunky, big and funky".

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: Explain the Description and history of this artwork, Ring of Time.

Ring of Time is a monumental bronze sculpture installed in the outer foyer of the Standard Plaza on Southwest 6th between Madison and Main in Downtown Portland's Transit Mall. It was designed by Hilda Grossman Morris and created during 1965–1967. The allegorical sculpture, which represents time, is 120 inches (3.0 m) tall and owned by the Standard Insurance Company. Portland Tribune has described the sculpture as "rough" and "primitive", as well as "chunky, clunky, big and funky".

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: How does Ring of Time explain its Description and history?

Ring of Time is a monumental bronze sculpture installed in the outer foyer of the Standard Plaza on Southwest 6th between Madison and Main in Downtown Portland's Transit Mall. It was designed by Hilda Grossman Morris and created during 1965–1967. The allegorical sculpture, which represents time, is 120 inches (3.0 m) tall and owned by the Standard Insurance Company. Portland Tribune has described the sculpture as "rough" and "primitive", as well as "chunky, clunky, big and funky".

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: In Ring of Time, how is the Description and history discussed?

Ring of Time is a monumental bronze sculpture installed in the outer foyer of the Standard Plaza on Southwest 6th between Madison and Main in Downtown Portland's Transit Mall. It was designed by Hilda Grossman Morris and created during 1965–1967. The allegorical sculpture, which represents time, is 120 inches (3.0 m) tall and owned by the Standard Insurance Company. Portland Tribune has described the sculpture as "rough" and "primitive", as well as "chunky, clunky, big and funky".

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: Focus on Ring of Time and explain the Reception.

Emporis has referred to Ring of Time as one of the city's "most admired" sculptures.

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: Explain the Reception of this artwork, Ring of Time.

Emporis has referred to Ring of Time as one of the city's "most admired" sculptures.

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: How does Ring of Time explain its Reception?

Emporis has referred to Ring of Time as one of the city's "most admired" sculptures.

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Ring of Time

Prompt: In Ring of Time, how is the Reception discussed?

Emporis has referred to Ring of Time as one of the city's "most admired" sculptures.

Category:Allegorical sculptures in Oregon

Category:Outdoor sculptures in Southwest Portland, Oregon

Category:Bronze sculptures in Portland, Oregon


Landscape with the Good Samaritan

Prompt: Focus on Landscape with the Good Samaritan and explain the abstract.

Landscape with the Good Samaritan is a 1638 oil-on-oak-panel painting by Rembrandt. It is one of only six oil landscapes by the artist, and it is also one of only three Rembrandt paintings in Polish collections; the other two are The Girl in a Picture Frame and The Scholar at the Lectern. It illustrates the parable of the Good Samaritan from the Gospel of Luke.It was bought at a Paris auction by Jean-Pierre Norblin de La Gourdaine and therefore passed into the Polish noblewoman Izabela Czartoryska's collection at the Dom Gotycki at Puławy. That collection was later moved to Kraków, and so it was one of several paintings looted by the Germans in 1939. After World War Two, thanks to research by the art historian Karol Estreicher, it was returned to Kraków and is now in the city's Czartoryski Museum.

Category:Paintings based on New Testament parables

Category:Collection of the Czartoryski Museum


Landscape with the Good Samaritan

Prompt: Explain the abstract of this artwork, Landscape with the Good Samaritan.

Landscape with the Good Samaritan is a 1638 oil-on-oak-panel painting by Rembrandt. It is one of only six oil landscapes by the artist, and it is also one of only three Rembrandt paintings in Polish collections; the other two are The Girl in a Picture Frame and The Scholar at the Lectern. It illustrates the parable of the Good Samaritan from the Gospel of Luke.It was bought at a Paris auction by Jean-Pierre Norblin de La Gourdaine and therefore passed into the Polish noblewoman Izabela Czartoryska's collection at the Dom Gotycki at Puławy. That collection was later moved to Kraków, and so it was one of several paintings looted by the Germans in 1939. After World War Two, thanks to research by the art historian Karol Estreicher, it was returned to Kraków and is now in the city's Czartoryski Museum.

Category:Paintings based on New Testament parables

Category:Collection of the Czartoryski Museum


Landscape with the Good Samaritan

Prompt: How does Landscape with the Good Samaritan explain its abstract?

Landscape with the Good Samaritan is a 1638 oil-on-oak-panel painting by Rembrandt. It is one of only six oil landscapes by the artist, and it is also one of only three Rembrandt paintings in Polish collections; the other two are The Girl in a Picture Frame and The Scholar at the Lectern. It illustrates the parable of the Good Samaritan from the Gospel of Luke.It was bought at a Paris auction by Jean-Pierre Norblin de La Gourdaine and therefore passed into the Polish noblewoman Izabela Czartoryska's collection at the Dom Gotycki at Puławy. That collection was later moved to Kraków, and so it was one of several paintings looted by the Germans in 1939. After World War Two, thanks to research by the art historian Karol Estreicher, it was returned to Kraków and is now in the city's Czartoryski Museum.

Category:Paintings based on New Testament parables

Category:Collection of the Czartoryski Museum


Landscape with the Good Samaritan

Prompt: In Landscape with the Good Samaritan, how is the abstract discussed?

Landscape with the Good Samaritan is a 1638 oil-on-oak-panel painting by Rembrandt. It is one of only six oil landscapes by the artist, and it is also one of only three Rembrandt paintings in Polish collections; the other two are The Girl in a Picture Frame and The Scholar at the Lectern. It illustrates the parable of the Good Samaritan from the Gospel of Luke.It was bought at a Paris auction by Jean-Pierre Norblin de La Gourdaine and therefore passed into the Polish noblewoman Izabela Czartoryska's collection at the Dom Gotycki at Puławy. That collection was later moved to Kraków, and so it was one of several paintings looted by the Germans in 1939. After World War Two, thanks to research by the art historian Karol Estreicher, it was returned to Kraków and is now in the city's Czartoryski Museum.

Category:Paintings based on New Testament parables

Category:Collection of the Czartoryski Museum


Crouching Woman

Prompt: Focus on Crouching Woman and explain the abstract.

Crouching Woman is a bronze sculpture by Auguste Rodin.

Category:Bronze sculptures in Washington, D.C.

Category:Sculptures in the Smithsonian Institution

Category:Collection of the Portland Art Museum

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden

Category:Nude sculptures in Washington, D.C.

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


Crouching Woman

Prompt: Explain the abstract of this artwork, Crouching Woman.

Crouching Woman is a bronze sculpture by Auguste Rodin.

Category:Bronze sculptures in Washington, D.C.

Category:Sculptures in the Smithsonian Institution

Category:Collection of the Portland Art Museum

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden

Category:Nude sculptures in Washington, D.C.

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


Crouching Woman

Prompt: How does Crouching Woman explain its abstract?

Crouching Woman is a bronze sculpture by Auguste Rodin.

Category:Bronze sculptures in Washington, D.C.

Category:Sculptures in the Smithsonian Institution

Category:Collection of the Portland Art Museum

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden

Category:Nude sculptures in Washington, D.C.

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


Crouching Woman

Prompt: In Crouching Woman, how is the abstract discussed?

Crouching Woman is a bronze sculpture by Auguste Rodin.

Category:Bronze sculptures in Washington, D.C.

Category:Sculptures in the Smithsonian Institution

Category:Collection of the Portland Art Museum

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden

Category:Nude sculptures in Washington, D.C.

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


Crouching Woman

Prompt: Focus on Crouching Woman and explain the Versions.

Originally modeled in 1880–1882, and enlarged in 1907–1911, it was cast in 1962.It is in the Hirshhorn Museum and Sculpture Garden. The Portland Art Museum has a copy in its Evan H. Roberts Memorial Sculpture Collection.

Category:Bronze sculptures in Washington, D.C.

Category:Sculptures in the Smithsonian Institution

Category:Collection of the Portland Art Museum

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden

Category:Nude sculptures in Washington, D.C.

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


Crouching Woman

Prompt: Explain the Versions of this artwork, Crouching Woman.

Originally modeled in 1880–1882, and enlarged in 1907–1911, it was cast in 1962.It is in the Hirshhorn Museum and Sculpture Garden. The Portland Art Museum has a copy in its Evan H. Roberts Memorial Sculpture Collection.

Category:Bronze sculptures in Washington, D.C.

Category:Sculptures in the Smithsonian Institution

Category:Collection of the Portland Art Museum

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden

Category:Nude sculptures in Washington, D.C.

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


Crouching Woman

Prompt: How does Crouching Woman explain its Versions?

Originally modeled in 1880–1882, and enlarged in 1907–1911, it was cast in 1962.It is in the Hirshhorn Museum and Sculpture Garden. The Portland Art Museum has a copy in its Evan H. Roberts Memorial Sculpture Collection.

Category:Bronze sculptures in Washington, D.C.

Category:Sculptures in the Smithsonian Institution

Category:Collection of the Portland Art Museum

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden

Category:Nude sculptures in Washington, D.C.

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


Crouching Woman

Prompt: In Crouching Woman, how is the Versions discussed?

Originally modeled in 1880–1882, and enlarged in 1907–1911, it was cast in 1962.It is in the Hirshhorn Museum and Sculpture Garden. The Portland Art Museum has a copy in its Evan H. Roberts Memorial Sculpture Collection.

Category:Bronze sculptures in Washington, D.C.

Category:Sculptures in the Smithsonian Institution

Category:Collection of the Portland Art Museum

List of public art in Washington, D.C., Ward 2

Category:Outdoor sculptures in Washington, D.C.

Category:Hirshhorn Museum and Sculpture Garden

Category:Nude sculptures in Washington, D.C.

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


At the Dressing-Table

Prompt: Focus on At the Dressing-Table and explain the abstract.

At the Dressing-Table. Self-Portrait (Russian: За туалетом. Автопортрет) is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate (now is a part of Kharkiv Oblast of Ukraine). According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene Lanceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house (1913, Russian Museum), Harvest (1915, Odesa Art Museum) and Whitening Canvas (1917, Tretyakov Gallery).

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: Explain the abstract of this artwork, At the Dressing-Table.

At the Dressing-Table. Self-Portrait (Russian: За туалетом. Автопортрет) is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate (now is a part of Kharkiv Oblast of Ukraine). According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene Lanceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house (1913, Russian Museum), Harvest (1915, Odesa Art Museum) and Whitening Canvas (1917, Tretyakov Gallery).

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: How does At the Dressing-Table explain its abstract?

At the Dressing-Table. Self-Portrait (Russian: За туалетом. Автопортрет) is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate (now is a part of Kharkiv Oblast of Ukraine). According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene Lanceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house (1913, Russian Museum), Harvest (1915, Odesa Art Museum) and Whitening Canvas (1917, Tretyakov Gallery).

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: In At the Dressing-Table, how is the abstract discussed?

At the Dressing-Table. Self-Portrait (Russian: За туалетом. Автопортрет) is a 1909 painting by Russian-French painter Zinaida Serebriakova. The painting is in the collection of the Tretyakov Gallery in Moscow. Its size is 75 × 65 cm.At the Dressing-Table was executed by Serebriakova in 1909 while she was living near Neskuchnoye, Kursk Governorate (now is a part of Kharkiv Oblast of Ukraine). According to Serebriakova, the winter came early in that year, there was a lot of snow, but it was warm in the house, so "she started to paint herself in the mirror, entertaining by drawing different small things from her dressing-table".On the insistence of Eugene Lanceray, her brother, Serebriakova sent At the Dressing-Table to Saint-Petersburg. It was exhibited at the 7th exhibition of the Union of Russian Artists, which moved from Moscow in the beginning of 1910. The painting was well received by the public and art critics. The painter Valentin Serov called it a "very cute and fresh thing", while the painter and critic Alexandre Benois wrote that Serebriakova "gave to Russian public such a wonderful gift, such a "smile from ear to ear", that one cannot fail to thank her for that". Right after the exposition the painting was bought by the Tretyakov Gallery.The current self-portrait At the Dressing-Table is considered one of the most important works of Serebriakova along with Bath-house (1913, Russian Museum), Harvest (1915, Odesa Art Museum) and Whitening Canvas (1917, Tretyakov Gallery).

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: Focus on At the Dressing-Table and explain the Literature.

Benoit, A. N. (1997). Художественные письма. 1930—1936 (in Russian). Moscow: Galart. ISBN 5-269-00919-6.Efremova, E. V. (2006). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Art-Rodnik. ISBN 5-9561-0176-8.Evstratova, E. N. (2013). 500 сокровищ русской живописи (in Russian). Moscow: OLMA. ISBN 9-785-373-04169-0.Knyazeva, V. P. (1979). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serevriakova] (in Russian). Moscow: Izobrazitelnoye Iskusstvo.Petinova, E. F. (2001). Русские художники XVIII — начала XX века (in Russian). Moscow: Avrora. ISBN 978-5-7300-0714-7.Rusakova, A. A. (2008). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Molodaya Gvardiya. ISBN 978-5-235-03108-1.Savinov, A. N. (1973). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serebriakova] (in Russian). Moscow: Khudozhnik RSFSR.Sarabyanov, D. V. (1986). Зинаида Серебрякова. Сборник материалов и каталог экспозиции к 100-летию со дня рождения художника (in Russian). Moscow: Sovetskiy Khudozhnik.Государственная Третьяковская галерея — каталог собрания. Vol. 5: Живопись конца XIX — начала XX века. Moscow: Skanrus. 2005. ISBN 5-93221-089-3 – via Bruk, Ya. V.; Iovleva, L. I.Зинаида Серебрякова: живопись, графика. Moscow: Dom Naschokina. 2003. ISBN 5-00-002077-4.

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: Explain the Literature of this artwork, At the Dressing-Table.

Benoit, A. N. (1997). Художественные письма. 1930—1936 (in Russian). Moscow: Galart. ISBN 5-269-00919-6.Efremova, E. V. (2006). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Art-Rodnik. ISBN 5-9561-0176-8.Evstratova, E. N. (2013). 500 сокровищ русской живописи (in Russian). Moscow: OLMA. ISBN 9-785-373-04169-0.Knyazeva, V. P. (1979). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serevriakova] (in Russian). Moscow: Izobrazitelnoye Iskusstvo.Petinova, E. F. (2001). Русские художники XVIII — начала XX века (in Russian). Moscow: Avrora. ISBN 978-5-7300-0714-7.Rusakova, A. A. (2008). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Molodaya Gvardiya. ISBN 978-5-235-03108-1.Savinov, A. N. (1973). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serebriakova] (in Russian). Moscow: Khudozhnik RSFSR.Sarabyanov, D. V. (1986). Зинаида Серебрякова. Сборник материалов и каталог экспозиции к 100-летию со дня рождения художника (in Russian). Moscow: Sovetskiy Khudozhnik.Государственная Третьяковская галерея — каталог собрания. Vol. 5: Живопись конца XIX — начала XX века. Moscow: Skanrus. 2005. ISBN 5-93221-089-3 – via Bruk, Ya. V.; Iovleva, L. I.Зинаида Серебрякова: живопись, графика. Moscow: Dom Naschokina. 2003. ISBN 5-00-002077-4.

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: How does At the Dressing-Table explain its Literature?

Benoit, A. N. (1997). Художественные письма. 1930—1936 (in Russian). Moscow: Galart. ISBN 5-269-00919-6.Efremova, E. V. (2006). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Art-Rodnik. ISBN 5-9561-0176-8.Evstratova, E. N. (2013). 500 сокровищ русской живописи (in Russian). Moscow: OLMA. ISBN 9-785-373-04169-0.Knyazeva, V. P. (1979). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serevriakova] (in Russian). Moscow: Izobrazitelnoye Iskusstvo.Petinova, E. F. (2001). Русские художники XVIII — начала XX века (in Russian). Moscow: Avrora. ISBN 978-5-7300-0714-7.Rusakova, A. A. (2008). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Molodaya Gvardiya. ISBN 978-5-235-03108-1.Savinov, A. N. (1973). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serebriakova] (in Russian). Moscow: Khudozhnik RSFSR.Sarabyanov, D. V. (1986). Зинаида Серебрякова. Сборник материалов и каталог экспозиции к 100-летию со дня рождения художника (in Russian). Moscow: Sovetskiy Khudozhnik.Государственная Третьяковская галерея — каталог собрания. Vol. 5: Живопись конца XIX — начала XX века. Moscow: Skanrus. 2005. ISBN 5-93221-089-3 – via Bruk, Ya. V.; Iovleva, L. I.Зинаида Серебрякова: живопись, графика. Moscow: Dom Naschokina. 2003. ISBN 5-00-002077-4.

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


At the Dressing-Table

Prompt: In At the Dressing-Table, how is the Literature discussed?

Benoit, A. N. (1997). Художественные письма. 1930—1936 (in Russian). Moscow: Galart. ISBN 5-269-00919-6.Efremova, E. V. (2006). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Art-Rodnik. ISBN 5-9561-0176-8.Evstratova, E. N. (2013). 500 сокровищ русской живописи (in Russian). Moscow: OLMA. ISBN 9-785-373-04169-0.Knyazeva, V. P. (1979). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serevriakova] (in Russian). Moscow: Izobrazitelnoye Iskusstvo.Petinova, E. F. (2001). Русские художники XVIII — начала XX века (in Russian). Moscow: Avrora. ISBN 978-5-7300-0714-7.Rusakova, A. A. (2008). Зинаида Серебрякова [Zinaida Serebriakova] (in Russian). Moscow: Molodaya Gvardiya. ISBN 978-5-235-03108-1.Savinov, A. N. (1973). Зинаида Евгеньевна Серебрякова [Zinaida Evgenyevna Serebriakova] (in Russian). Moscow: Khudozhnik RSFSR.Sarabyanov, D. V. (1986). Зинаида Серебрякова. Сборник материалов и каталог экспозиции к 100-летию со дня рождения художника (in Russian). Moscow: Sovetskiy Khudozhnik.Государственная Третьяковская галерея — каталог собрания. Vol. 5: Живопись конца XIX — начала XX века. Moscow: Skanrus. 2005. ISBN 5-93221-089-3 – via Bruk, Ya. V.; Iovleva, L. I.Зинаида Серебрякова: живопись, графика. Moscow: Dom Naschokina. 2003. ISBN 5-00-002077-4.

Category:Paintings by Zinaida Serebriakova

Category:Collection of the Tretyakov Gallery


Statue of Unicorn Gundam

Prompt: Focus on Statue of Unicorn Gundam and explain the abstract.

The Life-Sized Unicorn Gundam Statue is a full-scale statue of the RX-0 Unicorn Gundam from the series Mobile Suit Gundam Unicorn installed outside Odaiba's DiverCity Tokyo Plaza, in Tokyo, Japan. It replaced a previous statue of the RX-78-2 Gundam. The statue transforms between its default "Unicorn Mode" and illuminated "Destroy Mode."

Category:Statues of fictional characters


Statue of Unicorn Gundam

Prompt: Explain the abstract of this artwork, Statue of Unicorn Gundam.

The Life-Sized Unicorn Gundam Statue is a full-scale statue of the RX-0 Unicorn Gundam from the series Mobile Suit Gundam Unicorn installed outside Odaiba's DiverCity Tokyo Plaza, in Tokyo, Japan. It replaced a previous statue of the RX-78-2 Gundam. The statue transforms between its default "Unicorn Mode" and illuminated "Destroy Mode."

Category:Statues of fictional characters


Statue of Unicorn Gundam

Prompt: How does Statue of Unicorn Gundam explain its abstract?

The Life-Sized Unicorn Gundam Statue is a full-scale statue of the RX-0 Unicorn Gundam from the series Mobile Suit Gundam Unicorn installed outside Odaiba's DiverCity Tokyo Plaza, in Tokyo, Japan. It replaced a previous statue of the RX-78-2 Gundam. The statue transforms between its default "Unicorn Mode" and illuminated "Destroy Mode."

Category:Statues of fictional characters


Statue of Unicorn Gundam

Prompt: In Statue of Unicorn Gundam, how is the abstract discussed?

The Life-Sized Unicorn Gundam Statue is a full-scale statue of the RX-0 Unicorn Gundam from the series Mobile Suit Gundam Unicorn installed outside Odaiba's DiverCity Tokyo Plaza, in Tokyo, Japan. It replaced a previous statue of the RX-78-2 Gundam. The statue transforms between its default "Unicorn Mode" and illuminated "Destroy Mode."

Category:Statues of fictional characters


Portrait of Maria Trip

Prompt: Focus on Portrait of Maria Trip and explain the abstract.

Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE. Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists. A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Isabella Henriette van Eeghen
British Museum
Dut.
Category:Portraits of women
Category:Portraits by Rembrandt
Emile Michel
Category:17th-century portraits
List of paintings by Rembrandt
Category:Paintings in the Rijksmuseum
oil on panel
Gazette des Beaux-Arts
Rijksmuseum
Dutch Golden Age painting
Netherlands Institute for Art History
Wilhelm von Bode
Dutch
Hofstede de Groot
Bode
Rembrandt
Eugène Dutuit
RKD
Wb.
Category:1630s paintings
Carel Vosmaer
Alfred von Wurzbach
Trip
Michel
Vosmaer
oil painting
Netherlands
Isa van Eeghen
Amsterdam


Portrait of Maria Trip

Prompt: Explain the abstract of this artwork, Portrait of Maria Trip.

Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE. Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists. A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Isabella Henriette van Eeghen
British Museum
Dut.
Category:Portraits of women
Category:Portraits by Rembrandt
Emile Michel
Category:17th-century portraits
List of paintings by Rembrandt
Category:Paintings in the Rijksmuseum
oil on panel
Gazette des Beaux-Arts
Rijksmuseum
Dutch Golden Age painting
Netherlands Institute for Art History
Wilhelm von Bode
Dutch
Hofstede de Groot
Bode
Rembrandt
Eugène Dutuit
RKD
Wb.
Category:1630s paintings
Carel Vosmaer
Alfred von Wurzbach
Trip
Michel
Vosmaer
oil painting
Netherlands
Isa van Eeghen
Amsterdam


Portrait of Maria Trip

Prompt: How does Portrait of Maria Trip explain its abstract?

Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE. Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists. A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Isabella Henriette van Eeghen
British Museum
Dut.
Category:Portraits of women
Category:Portraits by Rembrandt
Emile Michel
Category:17th-century portraits
List of paintings by Rembrandt
Category:Paintings in the Rijksmuseum
oil on panel
Gazette des Beaux-Arts
Rijksmuseum
Dutch Golden Age painting
Netherlands Institute for Art History
Wilhelm von Bode
Dutch
Hofstede de Groot
Bode
Rembrandt
Eugène Dutuit
RKD
Wb.
Category:1630s paintings
Carel Vosmaer
Alfred von Wurzbach
Trip
Michel
Vosmaer
oil painting
Netherlands
Isa van Eeghen
Amsterdam


Portrait of Maria Trip

Prompt: In Portrait of Maria Trip, how is the abstract discussed?

Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt.It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.This painting was documented by Hofstede de Groot in 1915, who wrote:845. A YOUNG WOMAN AT A STONE BALUSTRADE. Bode 19; Dut. 283; Wb. 352; B.-HdG. 274. About thirty-five. Half-length; life size. She stands, inclined to the left, and looks at the spectator. She holds her fan in her left hand, which rests on the balustrade. Her brown hair is uncovered and falls in ringlets on her brow. Her figured black silk gown is cut out at the throat and trimmed with rosettes; over it is a triple collar of rich lace, lying flat. She has rich pearls in her ears, on her bosom, round her neck, and on her wrists. A small jewelled medallion is suspended from a black ribbon. Her right hand hangs at her side. She stands in front of a recess with a caryatid to the left; behind her is a dark curtain. Full daylight falls from the front. Corrections are visible on the lower edge, where there was once a table, and there were large buttons on the left sleeve.Signed on the left at foot, "Rembrandt f. 1639"; cedar panel, 42 inches by 32 inches. A carefully executed pen-sketch for this picture is in the British Museum Print Room; reproduced, HdG. iv. 88. Etched by L. Flameng in the Gazette des Beaux-Arts, and in Dutuit, iii. Mentioned by Vosmaer, pp. 170, 520; Bode, pp. 459, 559; Dutuit, p. 54; Michel, pp. 213, 565 [163-4, 440]. Exhibited at Amsterdam, 1872 and 1898, No. 44; Brussels, 1882, No. 216; The Hague, 1890, No. 85; Utrecht, 1894, No. 417. In the Van Weede van Dijkveld collection, Utrecht. Exhibited on loan since 1896 in the Rijksmuseum, Amsterdam, 1911 catalogue, No. 2022.The painting was researched in the 20th century by Isa van Eeghen who discovered that it was a portrait of Maria Trip, the wife of Balthasar Coymans.

Isabella Henriette van Eeghen
British Museum
Dut.
Category:Portraits of women
Category:Portraits by Rembrandt
Emile Michel
Category:17th-century portraits
List of paintings by Rembrandt
Category:Paintings in the Rijksmuseum
oil on panel
Gazette des Beaux-Arts
Rijksmuseum
Dutch Golden Age painting
Netherlands Institute for Art History
Wilhelm von Bode
Dutch
Hofstede de Groot
Bode
Rembrandt
Eugène Dutuit
RKD
Wb.
Category:1630s paintings
Carel Vosmaer
Alfred von Wurzbach
Trip
Michel
Vosmaer
oil painting
Netherlands
Isa van Eeghen
Amsterdam


Babe's Dream

Prompt: Focus on Babe's Dream and explain the abstract.

Babe's Dream is a 1995 bronze statue of Babe Ruth, by Susan Luery.It is located at West Camden Street and South Eutaw Street, at Oriole Park at Camden Yards, Baltimore.The statue contains an error in that Ruth is depicted with a right-handed fielder's glove, for wear on the left hand. Ruth threw left-handed.

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: Explain the abstract of this artwork, Babe's Dream.

Babe's Dream is a 1995 bronze statue of Babe Ruth, by Susan Luery.It is located at West Camden Street and South Eutaw Street, at Oriole Park at Camden Yards, Baltimore.The statue contains an error in that Ruth is depicted with a right-handed fielder's glove, for wear on the left hand. Ruth threw left-handed.

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: How does Babe's Dream explain its abstract?

Babe's Dream is a 1995 bronze statue of Babe Ruth, by Susan Luery.It is located at West Camden Street and South Eutaw Street, at Oriole Park at Camden Yards, Baltimore.The statue contains an error in that Ruth is depicted with a right-handed fielder's glove, for wear on the left hand. Ruth threw left-handed.

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: In Babe's Dream, how is the abstract discussed?

Babe's Dream is a 1995 bronze statue of Babe Ruth, by Susan Luery.It is located at West Camden Street and South Eutaw Street, at Oriole Park at Camden Yards, Baltimore.The statue contains an error in that Ruth is depicted with a right-handed fielder's glove, for wear on the left hand. Ruth threw left-handed.

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: Focus on Babe's Dream and explain the Statue.

Although he became famous as a New York Yankee, George Herman Ruth's roots are in Baltimore, where he was born, grew up, and learned how to play baseball. Babe's Dream portrays Ruth as a young man, about the time he started out as a rookie, as Luery wanted to portray Babe's longing for the big leagues and to find an escape from his harsh childhood.Ruth was born on February 6, 1895, to hardworking parents who couldn't support a child that caused as much “mischief” as Babe. At age seven, his parents decided to “straighten him out” by sending him to Baltimore's St. Mary's Industrial School for Boys, where he could learn how to have more discipline. This turned out to be the beginning of the star's true love for the game of baseball.Babe Ruth is a legend in the world of baseball. He played baseball for 22 years, setting the records for career home runs at 714 and holding that record until 1974 when Hank Aaron surpassed it.  Ruth is credited with changing the game of baseball in America, and his hometown wanted to present his accomplishments by dedicating a statue to him and his legend.Luery portrayed Ruth as a fierce competitor as he is gazing out into the future.  “A man looking at his destiny,” is how Susan Luery put it.  “His poise was in the sense of determination that he was a great player,” she said.  “He’s facing out – he had everything in front of him. Ruth’s career rose pretty much straight into the record books from there.”

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: Explain the Statue of this artwork, Babe's Dream.

Although he became famous as a New York Yankee, George Herman Ruth's roots are in Baltimore, where he was born, grew up, and learned how to play baseball. Babe's Dream portrays Ruth as a young man, about the time he started out as a rookie, as Luery wanted to portray Babe's longing for the big leagues and to find an escape from his harsh childhood.Ruth was born on February 6, 1895, to hardworking parents who couldn't support a child that caused as much “mischief” as Babe. At age seven, his parents decided to “straighten him out” by sending him to Baltimore's St. Mary's Industrial School for Boys, where he could learn how to have more discipline. This turned out to be the beginning of the star's true love for the game of baseball.Babe Ruth is a legend in the world of baseball. He played baseball for 22 years, setting the records for career home runs at 714 and holding that record until 1974 when Hank Aaron surpassed it.  Ruth is credited with changing the game of baseball in America, and his hometown wanted to present his accomplishments by dedicating a statue to him and his legend.Luery portrayed Ruth as a fierce competitor as he is gazing out into the future.  “A man looking at his destiny,” is how Susan Luery put it.  “His poise was in the sense of determination that he was a great player,” she said.  “He’s facing out – he had everything in front of him. Ruth’s career rose pretty much straight into the record books from there.”

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: How does Babe's Dream explain its Statue?

Although he became famous as a New York Yankee, George Herman Ruth's roots are in Baltimore, where he was born, grew up, and learned how to play baseball. Babe's Dream portrays Ruth as a young man, about the time he started out as a rookie, as Luery wanted to portray Babe's longing for the big leagues and to find an escape from his harsh childhood.Ruth was born on February 6, 1895, to hardworking parents who couldn't support a child that caused as much “mischief” as Babe. At age seven, his parents decided to “straighten him out” by sending him to Baltimore's St. Mary's Industrial School for Boys, where he could learn how to have more discipline. This turned out to be the beginning of the star's true love for the game of baseball.Babe Ruth is a legend in the world of baseball. He played baseball for 22 years, setting the records for career home runs at 714 and holding that record until 1974 when Hank Aaron surpassed it.  Ruth is credited with changing the game of baseball in America, and his hometown wanted to present his accomplishments by dedicating a statue to him and his legend.Luery portrayed Ruth as a fierce competitor as he is gazing out into the future.  “A man looking at his destiny,” is how Susan Luery put it.  “His poise was in the sense of determination that he was a great player,” she said.  “He’s facing out – he had everything in front of him. Ruth’s career rose pretty much straight into the record books from there.”

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: In Babe's Dream, how is the Statue discussed?

Although he became famous as a New York Yankee, George Herman Ruth's roots are in Baltimore, where he was born, grew up, and learned how to play baseball. Babe's Dream portrays Ruth as a young man, about the time he started out as a rookie, as Luery wanted to portray Babe's longing for the big leagues and to find an escape from his harsh childhood.Ruth was born on February 6, 1895, to hardworking parents who couldn't support a child that caused as much “mischief” as Babe. At age seven, his parents decided to “straighten him out” by sending him to Baltimore's St. Mary's Industrial School for Boys, where he could learn how to have more discipline. This turned out to be the beginning of the star's true love for the game of baseball.Babe Ruth is a legend in the world of baseball. He played baseball for 22 years, setting the records for career home runs at 714 and holding that record until 1974 when Hank Aaron surpassed it.  Ruth is credited with changing the game of baseball in America, and his hometown wanted to present his accomplishments by dedicating a statue to him and his legend.Luery portrayed Ruth as a fierce competitor as he is gazing out into the future.  “A man looking at his destiny,” is how Susan Luery put it.  “His poise was in the sense of determination that he was a great player,” she said.  “He’s facing out – he had everything in front of him. Ruth’s career rose pretty much straight into the record books from there.”

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: Focus on Babe's Dream and explain the Artist.

Susan Luery was born in Baltimore, Maryland, and attended the Maryland Institute College of Art where she learned to refine her work. Luery researched Ruth by reading books and talking to people with both knowledge of Ruth and baseball so she could “connect” with the subject. She also had a look-alike model come to her studio while she worked on the statue. It took her seven months to form the 28-inch model statue before creating the large-scale version.She produced the 16-foot statue a year later, in 1994, and it was placed in the Camden Yards on Babe Ruth's 100th birthday in February 1995. The statue was officially unveiled at an Orioles game where Luery and Ruth's daughter, Julia Ruth Stevens, threw out the game ball in celebration.

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: Explain the Artist of this artwork, Babe's Dream.

Susan Luery was born in Baltimore, Maryland, and attended the Maryland Institute College of Art where she learned to refine her work. Luery researched Ruth by reading books and talking to people with both knowledge of Ruth and baseball so she could “connect” with the subject. She also had a look-alike model come to her studio while she worked on the statue. It took her seven months to form the 28-inch model statue before creating the large-scale version.She produced the 16-foot statue a year later, in 1994, and it was placed in the Camden Yards on Babe Ruth's 100th birthday in February 1995. The statue was officially unveiled at an Orioles game where Luery and Ruth's daughter, Julia Ruth Stevens, threw out the game ball in celebration.

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland


Babe's Dream

Prompt: How does Babe's Dream explain its Artist?

Susan Luery was born in Baltimore, Maryland, and attended the Maryland Institute College of Art where she learned to refine her work. Luery researched Ruth by reading books and talking to people with both knowledge of Ruth and baseball so she could “connect” with the subject. She also had a look-alike model come to her studio while she worked on the statue. It took her seven months to form the 28-inch model statue before creating the large-scale version.She produced the 16-foot statue a year later, in 1994, and it was placed in the Camden Yards on Babe Ruth's 100th birthday in February 1995. The statue was officially unveiled at an Orioles game where Luery and Ruth's daughter, Julia Ruth Stevens, threw out the game ball in celebration.

Category:Monuments and memorials in Maryland

Category:Tourist attractions in Baltimore

Category:Statues of sportspeople in the United States

Category:Outdoor sculptures in Baltimore

Category:Cultural depictions of Babe Ruth

Category:1995 establishments in Maryland