Unique Forms of Continuity in Space

Prompt: Focus on Unique Forms of Continuity in Space and explain the Influence.

In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space (Forme Uniche della Continuità nello Spazio), commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture.

Original plaster, photo from Estado de São Paulo newspaper, 1913.

Image:'Unique Forms of Continuity in Space', 1913 bronze by Umberto Boccioni.jpg

Museu de Arte Contemporânea da Universidade de São Paulo

Category:Sculptures in the Museum of Modern Art (New York City)

The Museum of Twentieth Century (Museo del Novecento)

File:Unique Forms of Continuity in Space, original plaster.jpg

Museum of Contemporary Art, University of São Paulo

Category:Sculptures in the Metropolitan Museum of Art

''Unique Forms of Continuity in Space'' on the obverse of the [[Italy


Unique Forms of Continuity in Space

Prompt: Explain the Influence of this artwork, Unique Forms of Continuity in Space.

In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space (Forme Uniche della Continuità nello Spazio), commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture.

Original plaster, photo from Estado de São Paulo newspaper, 1913.

Image:'Unique Forms of Continuity in Space', 1913 bronze by Umberto Boccioni.jpg

Museu de Arte Contemporânea da Universidade de São Paulo

Category:Sculptures in the Museum of Modern Art (New York City)

The Museum of Twentieth Century (Museo del Novecento)

File:Unique Forms of Continuity in Space, original plaster.jpg

Museum of Contemporary Art, University of São Paulo

Category:Sculptures in the Metropolitan Museum of Art

''Unique Forms of Continuity in Space'' on the obverse of the [[Italy


Unique Forms of Continuity in Space

Prompt: How does Unique Forms of Continuity in Space explain its Influence?

In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space (Forme Uniche della Continuità nello Spazio), commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture.

Original plaster, photo from Estado de São Paulo newspaper, 1913.

Image:'Unique Forms of Continuity in Space', 1913 bronze by Umberto Boccioni.jpg

Museu de Arte Contemporânea da Universidade de São Paulo

Category:Sculptures in the Museum of Modern Art (New York City)

The Museum of Twentieth Century (Museo del Novecento)

File:Unique Forms of Continuity in Space, original plaster.jpg

Museum of Contemporary Art, University of São Paulo

Category:Sculptures in the Metropolitan Museum of Art

''Unique Forms of Continuity in Space'' on the obverse of the [[Italy


Unique Forms of Continuity in Space

Prompt: In Unique Forms of Continuity in Space, how is the Influence discussed?

In 2009 Italian composer Carlo Forlivesi in collaboration with Stefano Fossati, Director of the Italian Cultural Institute in Melbourne, created an international composition competition and workshop titled Unique Forms of Continuity in Space (Forme Uniche della Continuità nello Spazio), commemorating the hundredth anniversary of Italian Futurism. With a name which brings to mind Boccioni's piece, the initiative, organised on an annual basis, celebrates the power of musical composition mingled with the strength of the Italian language. The international composition competition and workshop Unique Forms of Continuity in Space aims to contribute to the creation of a large and eclectic body of art works, with particular significance for the relationship between music and poetry.In 2018, the sculpture was used as the basis of the trophy presented to the winner of the virtual Gran Turismo World Series sim racing competition held in the Gran Turismo series of racing games. The sculpture was chosen because it represents the surprise and fascination of machines discovered in the beginning of the 20th century, and shares values with Gran Turismo. Polyphony Digital, the creators of the Gran Turismo series, used laser scanning methods to create an accurate replication of the sculpture.

Original plaster, photo from Estado de São Paulo newspaper, 1913.

Image:'Unique Forms of Continuity in Space', 1913 bronze by Umberto Boccioni.jpg

Museu de Arte Contemporânea da Universidade de São Paulo

Category:Sculptures in the Museum of Modern Art (New York City)

The Museum of Twentieth Century (Museo del Novecento)

File:Unique Forms of Continuity in Space, original plaster.jpg

Museum of Contemporary Art, University of São Paulo

Category:Sculptures in the Metropolitan Museum of Art

''Unique Forms of Continuity in Space'' on the obverse of the [[Italy


Dance (Matisse)

Prompt: Focus on Dance (Matisse) and explain the abstract.

Dance (La Danse) is a painting made by Henri Matisse in 1910, at the request of Russian businessman and art collector Sergei Shchukin, who bequeathed the large decorative panel to the Hermitage Museum, in Saint Petersburg. The composition of dancing figures is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". A preliminary version of the work, sketched by Matisse in 1909 as a study for the work, resides at MoMA in New York, where it has been labeled Dance (I).La Danse was first exhibited at the Salon d'Automne of 1910 (1 October – 8 November), Grand Palais des Champs-Élysées, Paris.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: Explain the abstract of this artwork, Dance (Matisse).

Dance (La Danse) is a painting made by Henri Matisse in 1910, at the request of Russian businessman and art collector Sergei Shchukin, who bequeathed the large decorative panel to the Hermitage Museum, in Saint Petersburg. The composition of dancing figures is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". A preliminary version of the work, sketched by Matisse in 1909 as a study for the work, resides at MoMA in New York, where it has been labeled Dance (I).La Danse was first exhibited at the Salon d'Automne of 1910 (1 October – 8 November), Grand Palais des Champs-Élysées, Paris.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: How does Dance (Matisse) explain its abstract?

Dance (La Danse) is a painting made by Henri Matisse in 1910, at the request of Russian businessman and art collector Sergei Shchukin, who bequeathed the large decorative panel to the Hermitage Museum, in Saint Petersburg. The composition of dancing figures is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". A preliminary version of the work, sketched by Matisse in 1909 as a study for the work, resides at MoMA in New York, where it has been labeled Dance (I).La Danse was first exhibited at the Salon d'Automne of 1910 (1 October – 8 November), Grand Palais des Champs-Élysées, Paris.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: In Dance (Matisse), how is the abstract discussed?

Dance (La Danse) is a painting made by Henri Matisse in 1910, at the request of Russian businessman and art collector Sergei Shchukin, who bequeathed the large decorative panel to the Hermitage Museum, in Saint Petersburg. The composition of dancing figures is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". A preliminary version of the work, sketched by Matisse in 1909 as a study for the work, resides at MoMA in New York, where it has been labeled Dance (I).La Danse was first exhibited at the Salon d'Automne of 1910 (1 October – 8 November), Grand Palais des Champs-Élysées, Paris.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: Focus on Dance (Matisse) and explain the Dance (I).

In March 1909, Matisse painted a preliminary version of this work, known as Dance (I). It was a compositional study and uses paler colors and less detail. The painting was highly regarded by the artist who once called it "the overpowering climax of luminosity"; it is also featured in the background of Matisse's Nasturtiums with the Painting "Dance I", (1912).It was donated by Nelson A. Rockefeller in honor of Alfred H. Barr Jr. to the Museum of Modern Art in New York.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: Explain the Dance (I) of this artwork, Dance (Matisse).

In March 1909, Matisse painted a preliminary version of this work, known as Dance (I). It was a compositional study and uses paler colors and less detail. The painting was highly regarded by the artist who once called it "the overpowering climax of luminosity"; it is also featured in the background of Matisse's Nasturtiums with the Painting "Dance I", (1912).It was donated by Nelson A. Rockefeller in honor of Alfred H. Barr Jr. to the Museum of Modern Art in New York.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: How does Dance (Matisse) explain its Dance (I)?

In March 1909, Matisse painted a preliminary version of this work, known as Dance (I). It was a compositional study and uses paler colors and less detail. The painting was highly regarded by the artist who once called it "the overpowering climax of luminosity"; it is also featured in the background of Matisse's Nasturtiums with the Painting "Dance I", (1912).It was donated by Nelson A. Rockefeller in honor of Alfred H. Barr Jr. to the Museum of Modern Art in New York.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: In Dance (Matisse), how is the Dance (I) discussed?

In March 1909, Matisse painted a preliminary version of this work, known as Dance (I). It was a compositional study and uses paler colors and less detail. The painting was highly regarded by the artist who once called it "the overpowering climax of luminosity"; it is also featured in the background of Matisse's Nasturtiums with the Painting "Dance I", (1912).It was donated by Nelson A. Rockefeller in honor of Alfred H. Barr Jr. to the Museum of Modern Art in New York.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: Focus on Dance (Matisse) and explain the Dance.

Dance is a large decorative panel, painted with a companion piece, Music, specifically for the Russian businessman and art collector Sergei Shchukin, with whom Matisse had a long association. Until the October Revolution of 1917, this painting hung together with Music on the staircase of Shchukin's Moscow mansion.The painting shows five dancing figures, painted in a strong red, set against a very simplified green landscape and deep blue sky. It reflects Matisse's incipient fascination with primitive art, and uses a classic Fauvist color palette: the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey the feelings of emotional liberation and hedonism. The painting is often associated with the "Dance of the Young Girls" from Igor Stravinsky's famous 1913 musical work The Rite of Spring. The composition or arrangement of dancing figures is reminiscent of Blake's watercolour "Oberon, Titania and Puck with fairies dancing" from 1786.Dance is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". It resides in the Hermitage Museum in St. Petersburg. It was loaned to H'ART Museum for a period of six weeks from April 1 to May 9, 2010.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: Explain the Dance of this artwork, Dance (Matisse).

Dance is a large decorative panel, painted with a companion piece, Music, specifically for the Russian businessman and art collector Sergei Shchukin, with whom Matisse had a long association. Until the October Revolution of 1917, this painting hung together with Music on the staircase of Shchukin's Moscow mansion.The painting shows five dancing figures, painted in a strong red, set against a very simplified green landscape and deep blue sky. It reflects Matisse's incipient fascination with primitive art, and uses a classic Fauvist color palette: the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey the feelings of emotional liberation and hedonism. The painting is often associated with the "Dance of the Young Girls" from Igor Stravinsky's famous 1913 musical work The Rite of Spring. The composition or arrangement of dancing figures is reminiscent of Blake's watercolour "Oberon, Titania and Puck with fairies dancing" from 1786.Dance is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". It resides in the Hermitage Museum in St. Petersburg. It was loaned to H'ART Museum for a period of six weeks from April 1 to May 9, 2010.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: How does Dance (Matisse) explain its Dance?

Dance is a large decorative panel, painted with a companion piece, Music, specifically for the Russian businessman and art collector Sergei Shchukin, with whom Matisse had a long association. Until the October Revolution of 1917, this painting hung together with Music on the staircase of Shchukin's Moscow mansion.The painting shows five dancing figures, painted in a strong red, set against a very simplified green landscape and deep blue sky. It reflects Matisse's incipient fascination with primitive art, and uses a classic Fauvist color palette: the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey the feelings of emotional liberation and hedonism. The painting is often associated with the "Dance of the Young Girls" from Igor Stravinsky's famous 1913 musical work The Rite of Spring. The composition or arrangement of dancing figures is reminiscent of Blake's watercolour "Oberon, Titania and Puck with fairies dancing" from 1786.Dance is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". It resides in the Hermitage Museum in St. Petersburg. It was loaned to H'ART Museum for a period of six weeks from April 1 to May 9, 2010.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: In Dance (Matisse), how is the Dance discussed?

Dance is a large decorative panel, painted with a companion piece, Music, specifically for the Russian businessman and art collector Sergei Shchukin, with whom Matisse had a long association. Until the October Revolution of 1917, this painting hung together with Music on the staircase of Shchukin's Moscow mansion.The painting shows five dancing figures, painted in a strong red, set against a very simplified green landscape and deep blue sky. It reflects Matisse's incipient fascination with primitive art, and uses a classic Fauvist color palette: the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey the feelings of emotional liberation and hedonism. The painting is often associated with the "Dance of the Young Girls" from Igor Stravinsky's famous 1913 musical work The Rite of Spring. The composition or arrangement of dancing figures is reminiscent of Blake's watercolour "Oberon, Titania and Puck with fairies dancing" from 1786.Dance is commonly recognized as "a key point of (Matisse's) career and in the development of modern painting". It resides in the Hermitage Museum in St. Petersburg. It was loaned to H'ART Museum for a period of six weeks from April 1 to May 9, 2010.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: Focus on Dance (Matisse) and explain the La Danse (Verve).

The French art periodical Verve published a lithographic version of the Hermitage La Danse in its Volume 1, Issue 4, January–March 1939. On page 50 of this issue, it is stated: "Henri Matisse has painted for Verve a replica of his large painting, La Danse . . .. This is reproduced lithographically on the following pages [book-ended by two linocuts of skaters in motion]." The lithography was carried out by Mourlot Freres (Paris). This lithographic version is, with margins, 14" × 25" and therefore much smaller than the painted versions. The lithographic version is hardly a "replica" of the Hermitage version, as several differences can be readily observed: (1) the green area in the lithographic version is a lime green. (2) the sky is virtually black (but with some blue near borders and edges of figures), (3) color areas are internally uniform, eschewing any painterly effects, (4) the lines in the figures are thicker, giving the image - with its uniform color areas – somewhat the appearance of a woodcut, and (5) the entire image is surrounded by a "frame" consisting of flat yellow, blue, and black color areas. The entire lithograph has the look of a genre that Matisse invented in the late 1930s, namely, the colored-paper cut-out and lithographic versions thereof.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: Explain the La Danse (Verve) of this artwork, Dance (Matisse).

The French art periodical Verve published a lithographic version of the Hermitage La Danse in its Volume 1, Issue 4, January–March 1939. On page 50 of this issue, it is stated: "Henri Matisse has painted for Verve a replica of his large painting, La Danse . . .. This is reproduced lithographically on the following pages [book-ended by two linocuts of skaters in motion]." The lithography was carried out by Mourlot Freres (Paris). This lithographic version is, with margins, 14" × 25" and therefore much smaller than the painted versions. The lithographic version is hardly a "replica" of the Hermitage version, as several differences can be readily observed: (1) the green area in the lithographic version is a lime green. (2) the sky is virtually black (but with some blue near borders and edges of figures), (3) color areas are internally uniform, eschewing any painterly effects, (4) the lines in the figures are thicker, giving the image - with its uniform color areas – somewhat the appearance of a woodcut, and (5) the entire image is surrounded by a "frame" consisting of flat yellow, blue, and black color areas. The entire lithograph has the look of a genre that Matisse invented in the late 1930s, namely, the colored-paper cut-out and lithographic versions thereof.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: How does Dance (Matisse) explain its La Danse (Verve)?

The French art periodical Verve published a lithographic version of the Hermitage La Danse in its Volume 1, Issue 4, January–March 1939. On page 50 of this issue, it is stated: "Henri Matisse has painted for Verve a replica of his large painting, La Danse . . .. This is reproduced lithographically on the following pages [book-ended by two linocuts of skaters in motion]." The lithography was carried out by Mourlot Freres (Paris). This lithographic version is, with margins, 14" × 25" and therefore much smaller than the painted versions. The lithographic version is hardly a "replica" of the Hermitage version, as several differences can be readily observed: (1) the green area in the lithographic version is a lime green. (2) the sky is virtually black (but with some blue near borders and edges of figures), (3) color areas are internally uniform, eschewing any painterly effects, (4) the lines in the figures are thicker, giving the image - with its uniform color areas – somewhat the appearance of a woodcut, and (5) the entire image is surrounded by a "frame" consisting of flat yellow, blue, and black color areas. The entire lithograph has the look of a genre that Matisse invented in the late 1930s, namely, the colored-paper cut-out and lithographic versions thereof.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Dance (Matisse)

Prompt: In Dance (Matisse), how is the La Danse (Verve) discussed?

The French art periodical Verve published a lithographic version of the Hermitage La Danse in its Volume 1, Issue 4, January–March 1939. On page 50 of this issue, it is stated: "Henri Matisse has painted for Verve a replica of his large painting, La Danse . . .. This is reproduced lithographically on the following pages [book-ended by two linocuts of skaters in motion]." The lithography was carried out by Mourlot Freres (Paris). This lithographic version is, with margins, 14" × 25" and therefore much smaller than the painted versions. The lithographic version is hardly a "replica" of the Hermitage version, as several differences can be readily observed: (1) the green area in the lithographic version is a lime green. (2) the sky is virtually black (but with some blue near borders and edges of figures), (3) color areas are internally uniform, eschewing any painterly effects, (4) the lines in the figures are thicker, giving the image - with its uniform color areas – somewhat the appearance of a woodcut, and (5) the entire image is surrounded by a "frame" consisting of flat yellow, blue, and black color areas. The entire lithograph has the look of a genre that Matisse invented in the late 1930s, namely, the colored-paper cut-out and lithographic versions thereof.

Category:Paintings in the Hermitage Museum

Category:Paintings in the Museum of Modern Art (New York City)


Charles IV of Spain and His Family

Prompt: Focus on Charles IV of Spain and His Family and explain the abstract.

Charles IV of Spain and His Family is an oil-on-canvas group portrait painting by the Spanish artist Francisco Goya. He began work on the painting in 1800, shortly after he became First Chamber Painter to the royal family, and completed it in the summer of 1801.The portrait features life-sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewellery. Foremost in the painting are Charles IV and his wife, Maria Luisa of Parma, who are surrounded by their children and relatives. The family are dressed in the height of contemporary fashionable clothing and lavishly adorned with jewellery and the sashes of the order of Charles III.The painting was modelled after Louis-Michel van Loo's 1743 Portrait of Felipe V and his Family and Velázquez's Las Meninas, setting the royal subjects in a similarly naturalistic setting as they pose for the artist who is visible at his easel at the left of the canvas.

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: Explain the abstract of this artwork, Charles IV of Spain and His Family.

Charles IV of Spain and His Family is an oil-on-canvas group portrait painting by the Spanish artist Francisco Goya. He began work on the painting in 1800, shortly after he became First Chamber Painter to the royal family, and completed it in the summer of 1801.The portrait features life-sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewellery. Foremost in the painting are Charles IV and his wife, Maria Luisa of Parma, who are surrounded by their children and relatives. The family are dressed in the height of contemporary fashionable clothing and lavishly adorned with jewellery and the sashes of the order of Charles III.The painting was modelled after Louis-Michel van Loo's 1743 Portrait of Felipe V and his Family and Velázquez's Las Meninas, setting the royal subjects in a similarly naturalistic setting as they pose for the artist who is visible at his easel at the left of the canvas.

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: How does Charles IV of Spain and His Family explain its abstract?

Charles IV of Spain and His Family is an oil-on-canvas group portrait painting by the Spanish artist Francisco Goya. He began work on the painting in 1800, shortly after he became First Chamber Painter to the royal family, and completed it in the summer of 1801.The portrait features life-sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewellery. Foremost in the painting are Charles IV and his wife, Maria Luisa of Parma, who are surrounded by their children and relatives. The family are dressed in the height of contemporary fashionable clothing and lavishly adorned with jewellery and the sashes of the order of Charles III.The painting was modelled after Louis-Michel van Loo's 1743 Portrait of Felipe V and his Family and Velázquez's Las Meninas, setting the royal subjects in a similarly naturalistic setting as they pose for the artist who is visible at his easel at the left of the canvas.

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: In Charles IV of Spain and His Family, how is the abstract discussed?

Charles IV of Spain and His Family is an oil-on-canvas group portrait painting by the Spanish artist Francisco Goya. He began work on the painting in 1800, shortly after he became First Chamber Painter to the royal family, and completed it in the summer of 1801.The portrait features life-sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewellery. Foremost in the painting are Charles IV and his wife, Maria Luisa of Parma, who are surrounded by their children and relatives. The family are dressed in the height of contemporary fashionable clothing and lavishly adorned with jewellery and the sashes of the order of Charles III.The painting was modelled after Louis-Michel van Loo's 1743 Portrait of Felipe V and his Family and Velázquez's Las Meninas, setting the royal subjects in a similarly naturalistic setting as they pose for the artist who is visible at his easel at the left of the canvas.

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: Focus on Charles IV of Spain and His Family and explain the Description.

The group portrait was completed the year after Goya first became court painter, the highest position available to a Spanish artist and one previously occupied by Diego Velázquez.Goya did not say why he chose to model the work after the older master, though the notion of a tradition of Spanish painting did not exist at the time. Perhaps Goya was motivated by the troubled times; after eleven years Spain was still dealing with the implications and aftermath of the French Revolution, which ultimately led to Napoleon's invasion of Spain and his installation of his brother, Joseph Bonaparte, on the Spanish throne in 1808.The royal family is apparently paying a visit to the artist's studio: Goya can be seen to the left looking outwards towards the viewer. Goya seems to focus his attention on three figures: the Prince of Asturias, i.e. the future Fernando VII, who is dressed in blue, his mother Queen Maria Luisa of Parma, standing in the centre, and King Charles IV. Although a formal portrait, there are indications of intimacy between the family members; Queen Maria Luisa holds the hand of the youngest child. In contrast to Velázquez's Las Meninas, the painting does not show any of the royal family's servants or attendants. More importantly, Goya omits narrative structure: it is simply a painting of people posing for a painting.As in Las Meninas, the artist is shown working on a canvas, of which only the rear is visible; however, the atmospheric and warm perspective of the palace interior of Velázquez's work is replaced here by a sense of, in the words of Gassier, "imminent suffocation" as the royal family are presented on a "stage facing the public, while in the shadow of the wings the painter, with a grim smile, points and says: 'Look at them and judge for yourself!'"

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: Explain the Description of this artwork, Charles IV of Spain and His Family.

The group portrait was completed the year after Goya first became court painter, the highest position available to a Spanish artist and one previously occupied by Diego Velázquez.Goya did not say why he chose to model the work after the older master, though the notion of a tradition of Spanish painting did not exist at the time. Perhaps Goya was motivated by the troubled times; after eleven years Spain was still dealing with the implications and aftermath of the French Revolution, which ultimately led to Napoleon's invasion of Spain and his installation of his brother, Joseph Bonaparte, on the Spanish throne in 1808.The royal family is apparently paying a visit to the artist's studio: Goya can be seen to the left looking outwards towards the viewer. Goya seems to focus his attention on three figures: the Prince of Asturias, i.e. the future Fernando VII, who is dressed in blue, his mother Queen Maria Luisa of Parma, standing in the centre, and King Charles IV. Although a formal portrait, there are indications of intimacy between the family members; Queen Maria Luisa holds the hand of the youngest child. In contrast to Velázquez's Las Meninas, the painting does not show any of the royal family's servants or attendants. More importantly, Goya omits narrative structure: it is simply a painting of people posing for a painting.As in Las Meninas, the artist is shown working on a canvas, of which only the rear is visible; however, the atmospheric and warm perspective of the palace interior of Velázquez's work is replaced here by a sense of, in the words of Gassier, "imminent suffocation" as the royal family are presented on a "stage facing the public, while in the shadow of the wings the painter, with a grim smile, points and says: 'Look at them and judge for yourself!'"

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: How does Charles IV of Spain and His Family explain its Description?

The group portrait was completed the year after Goya first became court painter, the highest position available to a Spanish artist and one previously occupied by Diego Velázquez.Goya did not say why he chose to model the work after the older master, though the notion of a tradition of Spanish painting did not exist at the time. Perhaps Goya was motivated by the troubled times; after eleven years Spain was still dealing with the implications and aftermath of the French Revolution, which ultimately led to Napoleon's invasion of Spain and his installation of his brother, Joseph Bonaparte, on the Spanish throne in 1808.The royal family is apparently paying a visit to the artist's studio: Goya can be seen to the left looking outwards towards the viewer. Goya seems to focus his attention on three figures: the Prince of Asturias, i.e. the future Fernando VII, who is dressed in blue, his mother Queen Maria Luisa of Parma, standing in the centre, and King Charles IV. Although a formal portrait, there are indications of intimacy between the family members; Queen Maria Luisa holds the hand of the youngest child. In contrast to Velázquez's Las Meninas, the painting does not show any of the royal family's servants or attendants. More importantly, Goya omits narrative structure: it is simply a painting of people posing for a painting.As in Las Meninas, the artist is shown working on a canvas, of which only the rear is visible; however, the atmospheric and warm perspective of the palace interior of Velázquez's work is replaced here by a sense of, in the words of Gassier, "imminent suffocation" as the royal family are presented on a "stage facing the public, while in the shadow of the wings the painter, with a grim smile, points and says: 'Look at them and judge for yourself!'"

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: In Charles IV of Spain and His Family, how is the Description discussed?

The group portrait was completed the year after Goya first became court painter, the highest position available to a Spanish artist and one previously occupied by Diego Velázquez.Goya did not say why he chose to model the work after the older master, though the notion of a tradition of Spanish painting did not exist at the time. Perhaps Goya was motivated by the troubled times; after eleven years Spain was still dealing with the implications and aftermath of the French Revolution, which ultimately led to Napoleon's invasion of Spain and his installation of his brother, Joseph Bonaparte, on the Spanish throne in 1808.The royal family is apparently paying a visit to the artist's studio: Goya can be seen to the left looking outwards towards the viewer. Goya seems to focus his attention on three figures: the Prince of Asturias, i.e. the future Fernando VII, who is dressed in blue, his mother Queen Maria Luisa of Parma, standing in the centre, and King Charles IV. Although a formal portrait, there are indications of intimacy between the family members; Queen Maria Luisa holds the hand of the youngest child. In contrast to Velázquez's Las Meninas, the painting does not show any of the royal family's servants or attendants. More importantly, Goya omits narrative structure: it is simply a painting of people posing for a painting.As in Las Meninas, the artist is shown working on a canvas, of which only the rear is visible; however, the atmospheric and warm perspective of the palace interior of Velázquez's work is replaced here by a sense of, in the words of Gassier, "imminent suffocation" as the royal family are presented on a "stage facing the public, while in the shadow of the wings the painter, with a grim smile, points and says: 'Look at them and judge for yourself!'"

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: Focus on Charles IV of Spain and His Family and explain the Sitters.

The barely visible man in the background shadows at the left is Goya himself (2). Others are, left to right: (1) Carlos Maria Isidro (1788–1855) – King's 2nd son(3) the future Fernando VII (1784–1833) – King's 1st son(4) Maria Josefa (1744–1801) – King's sister(5) Maria Antonia of Naples – by the time the work was created, she was yet to marry Fernando VII (but was expected to do so in the near future; that may explain the deliberate concealment of her face)(6) María Isabel (1789–1848) – King's daughter(7) Maria Luisa of Parma (1751–1819) – King's wife(8) Francisco de Paula (1794–1865) – King's youngest son(9) Charles IV (1748–1819) – King(10) Don Antonio Pascual  (1755–1817) – King's brother(11) Carlota Joaquina (1775–1830, only part of head visible) –  King's eldest daughter(12) Don Luis de Parma (1773–1803) – King's son-in-law(13) their baby Carlos Luis (1799–1883), the future Duke of Parma(14) his wife Maria Luisa (1782–1824) – King's daughter, holding number 13

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: Explain the Sitters of this artwork, Charles IV of Spain and His Family.

The barely visible man in the background shadows at the left is Goya himself (2). Others are, left to right: (1) Carlos Maria Isidro (1788–1855) – King's 2nd son(3) the future Fernando VII (1784–1833) – King's 1st son(4) Maria Josefa (1744–1801) – King's sister(5) Maria Antonia of Naples – by the time the work was created, she was yet to marry Fernando VII (but was expected to do so in the near future; that may explain the deliberate concealment of her face)(6) María Isabel (1789–1848) – King's daughter(7) Maria Luisa of Parma (1751–1819) – King's wife(8) Francisco de Paula (1794–1865) – King's youngest son(9) Charles IV (1748–1819) – King(10) Don Antonio Pascual  (1755–1817) – King's brother(11) Carlota Joaquina (1775–1830, only part of head visible) –  King's eldest daughter(12) Don Luis de Parma (1773–1803) – King's son-in-law(13) their baby Carlos Luis (1799–1883), the future Duke of Parma(14) his wife Maria Luisa (1782–1824) – King's daughter, holding number 13

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: How does Charles IV of Spain and His Family explain its Sitters?

The barely visible man in the background shadows at the left is Goya himself (2). Others are, left to right: (1) Carlos Maria Isidro (1788–1855) – King's 2nd son(3) the future Fernando VII (1784–1833) – King's 1st son(4) Maria Josefa (1744–1801) – King's sister(5) Maria Antonia of Naples – by the time the work was created, she was yet to marry Fernando VII (but was expected to do so in the near future; that may explain the deliberate concealment of her face)(6) María Isabel (1789–1848) – King's daughter(7) Maria Luisa of Parma (1751–1819) – King's wife(8) Francisco de Paula (1794–1865) – King's youngest son(9) Charles IV (1748–1819) – King(10) Don Antonio Pascual  (1755–1817) – King's brother(11) Carlota Joaquina (1775–1830, only part of head visible) –  King's eldest daughter(12) Don Luis de Parma (1773–1803) – King's son-in-law(13) their baby Carlos Luis (1799–1883), the future Duke of Parma(14) his wife Maria Luisa (1782–1824) – King's daughter, holding number 13

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: In Charles IV of Spain and His Family, how is the Sitters discussed?

The barely visible man in the background shadows at the left is Goya himself (2). Others are, left to right: (1) Carlos Maria Isidro (1788–1855) – King's 2nd son(3) the future Fernando VII (1784–1833) – King's 1st son(4) Maria Josefa (1744–1801) – King's sister(5) Maria Antonia of Naples – by the time the work was created, she was yet to marry Fernando VII (but was expected to do so in the near future; that may explain the deliberate concealment of her face)(6) María Isabel (1789–1848) – King's daughter(7) Maria Luisa of Parma (1751–1819) – King's wife(8) Francisco de Paula (1794–1865) – King's youngest son(9) Charles IV (1748–1819) – King(10) Don Antonio Pascual  (1755–1817) – King's brother(11) Carlota Joaquina (1775–1830, only part of head visible) –  King's eldest daughter(12) Don Luis de Parma (1773–1803) – King's son-in-law(13) their baby Carlos Luis (1799–1883), the future Duke of Parma(14) his wife Maria Luisa (1782–1824) – King's daughter, holding number 13

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: Focus on Charles IV of Spain and His Family and explain the Interpretation.

The French writer Theophile Gautier called it a 'picture of the corner grocer who has just won the lottery' and it has sometimes been suggested that Goya was in some way satirising his subjects.  The idea has been dismissed by the art critic Robert Hughes: "This is nonsense. You didn't manage to keep your job as an official court portraitist if you were satirising the people you were painting. No, this is not a send up. If anything it is an act of flattery. For instance on the left, in the blue suit, is one of the most odious little toads in the entire history of Spanish politics, the future King Ferdinand VII, whom Goya actually manages to make quite regal. God knows how he did it, but he has. This is very much an act of respect, almost verging on an act of flattery."Prominent in Goya's portrait are the domestic intimacy of the royal family and the central role of the queen as a matriarch. She exudes fecundity as she is flanked by her family. Far from a cruel satire, Goya's depiction of the royal family is actually idealized and disregards what the forty-eight-year-old Queen Maria Luisa actually looked like. A Russian ambassador described her eleven years prior to this painting: "Repeated births, illnesses, and perhaps a touch of hereditary illness had taken their toll--the yellow pallor of her skin and the loss of her teeth dealt a final blow to her beauty." Granted, the queen's inane smile (formed by crude dentures), her sagging, pallid skin contrasted with sumptuous gown and jewels, and her overall appearance of doddering senescence, provide satirical fodder. But this subjective valuation is not only contrary to Goya's public presentation of his skills as an artist but to the artist's own apparent estimation of his consistent royal patron.John J. Ciofalo writes that while "Velázquez sought to bridge the gap between art and the reality of the natural world, Goya sought to bridge the gap between art and the reality of his own mind," a byproduct of the Romantic era. One only has to look at the paintings in Las Meninas that have been identified as real. The paintings in Goya's The Family of Carlos IV have never been identified. One could assume they are indeed products of Goya's mind, of his imagination.

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: Explain the Interpretation of this artwork, Charles IV of Spain and His Family.

The French writer Theophile Gautier called it a 'picture of the corner grocer who has just won the lottery' and it has sometimes been suggested that Goya was in some way satirising his subjects.  The idea has been dismissed by the art critic Robert Hughes: "This is nonsense. You didn't manage to keep your job as an official court portraitist if you were satirising the people you were painting. No, this is not a send up. If anything it is an act of flattery. For instance on the left, in the blue suit, is one of the most odious little toads in the entire history of Spanish politics, the future King Ferdinand VII, whom Goya actually manages to make quite regal. God knows how he did it, but he has. This is very much an act of respect, almost verging on an act of flattery."Prominent in Goya's portrait are the domestic intimacy of the royal family and the central role of the queen as a matriarch. She exudes fecundity as she is flanked by her family. Far from a cruel satire, Goya's depiction of the royal family is actually idealized and disregards what the forty-eight-year-old Queen Maria Luisa actually looked like. A Russian ambassador described her eleven years prior to this painting: "Repeated births, illnesses, and perhaps a touch of hereditary illness had taken their toll--the yellow pallor of her skin and the loss of her teeth dealt a final blow to her beauty." Granted, the queen's inane smile (formed by crude dentures), her sagging, pallid skin contrasted with sumptuous gown and jewels, and her overall appearance of doddering senescence, provide satirical fodder. But this subjective valuation is not only contrary to Goya's public presentation of his skills as an artist but to the artist's own apparent estimation of his consistent royal patron.John J. Ciofalo writes that while "Velázquez sought to bridge the gap between art and the reality of the natural world, Goya sought to bridge the gap between art and the reality of his own mind," a byproduct of the Romantic era. One only has to look at the paintings in Las Meninas that have been identified as real. The paintings in Goya's The Family of Carlos IV have never been identified. One could assume they are indeed products of Goya's mind, of his imagination.

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: How does Charles IV of Spain and His Family explain its Interpretation?

The French writer Theophile Gautier called it a 'picture of the corner grocer who has just won the lottery' and it has sometimes been suggested that Goya was in some way satirising his subjects.  The idea has been dismissed by the art critic Robert Hughes: "This is nonsense. You didn't manage to keep your job as an official court portraitist if you were satirising the people you were painting. No, this is not a send up. If anything it is an act of flattery. For instance on the left, in the blue suit, is one of the most odious little toads in the entire history of Spanish politics, the future King Ferdinand VII, whom Goya actually manages to make quite regal. God knows how he did it, but he has. This is very much an act of respect, almost verging on an act of flattery."Prominent in Goya's portrait are the domestic intimacy of the royal family and the central role of the queen as a matriarch. She exudes fecundity as she is flanked by her family. Far from a cruel satire, Goya's depiction of the royal family is actually idealized and disregards what the forty-eight-year-old Queen Maria Luisa actually looked like. A Russian ambassador described her eleven years prior to this painting: "Repeated births, illnesses, and perhaps a touch of hereditary illness had taken their toll--the yellow pallor of her skin and the loss of her teeth dealt a final blow to her beauty." Granted, the queen's inane smile (formed by crude dentures), her sagging, pallid skin contrasted with sumptuous gown and jewels, and her overall appearance of doddering senescence, provide satirical fodder. But this subjective valuation is not only contrary to Goya's public presentation of his skills as an artist but to the artist's own apparent estimation of his consistent royal patron.John J. Ciofalo writes that while "Velázquez sought to bridge the gap between art and the reality of the natural world, Goya sought to bridge the gap between art and the reality of his own mind," a byproduct of the Romantic era. One only has to look at the paintings in Las Meninas that have been identified as real. The paintings in Goya's The Family of Carlos IV have never been identified. One could assume they are indeed products of Goya's mind, of his imagination.

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Charles IV of Spain and His Family

Prompt: In Charles IV of Spain and His Family, how is the Interpretation discussed?

The French writer Theophile Gautier called it a 'picture of the corner grocer who has just won the lottery' and it has sometimes been suggested that Goya was in some way satirising his subjects.  The idea has been dismissed by the art critic Robert Hughes: "This is nonsense. You didn't manage to keep your job as an official court portraitist if you were satirising the people you were painting. No, this is not a send up. If anything it is an act of flattery. For instance on the left, in the blue suit, is one of the most odious little toads in the entire history of Spanish politics, the future King Ferdinand VII, whom Goya actually manages to make quite regal. God knows how he did it, but he has. This is very much an act of respect, almost verging on an act of flattery."Prominent in Goya's portrait are the domestic intimacy of the royal family and the central role of the queen as a matriarch. She exudes fecundity as she is flanked by her family. Far from a cruel satire, Goya's depiction of the royal family is actually idealized and disregards what the forty-eight-year-old Queen Maria Luisa actually looked like. A Russian ambassador described her eleven years prior to this painting: "Repeated births, illnesses, and perhaps a touch of hereditary illness had taken their toll--the yellow pallor of her skin and the loss of her teeth dealt a final blow to her beauty." Granted, the queen's inane smile (formed by crude dentures), her sagging, pallid skin contrasted with sumptuous gown and jewels, and her overall appearance of doddering senescence, provide satirical fodder. But this subjective valuation is not only contrary to Goya's public presentation of his skills as an artist but to the artist's own apparent estimation of his consistent royal patron.John J. Ciofalo writes that while "Velázquez sought to bridge the gap between art and the reality of the natural world, Goya sought to bridge the gap between art and the reality of his own mind," a byproduct of the Romantic era. One only has to look at the paintings in Las Meninas that have been identified as real. The paintings in Goya's The Family of Carlos IV have never been identified. One could assume they are indeed products of Goya's mind, of his imagination.

Category:Paintings by Francisco Goya in the Museo del Prado

''Charles IV of Spain and His Family'' (with numbers)

Category:Portraits of the Spanish royal family

Category:Group portraits by Spanish artists

File:Goya - Charles IV of Spain and His Family (with numbers).jpg

Princess Maria Antonia of Naples and Sicily

File:Las Meninas, by Diego Velázquez, from Prado in Google Earth.jpg


Shaftesbury Memorial Fountain

Prompt: Focus on Shaftesbury Memorial Fountain and explain the abstract.

The Shaftesbury Memorial Fountain, officially and popularly known as Eros, is a fountain surmounted by a winged statue of Anteros, located at the southeastern side of Piccadilly Circus in London, England. Moved after the Second World War from its original position in the centre of the circus, it was erected in 1892–93 to commemorate the philanthropic works of The 7th Earl of Shaftesbury, the Victorian politician and philanthropist, and his achievement in replacing child labour with school education. The fountain overlooks the south-west end of Shaftesbury Avenue, also named after the Earl.

Category:Nude sculptures in the United Kingdom

Anthony Ashley-Cooper, 7th Earl of Shaftesbury

Category:Grade I listed statues in the City of Westminster

Anthony Ashley Cooper, 7th Earl of Shaftesbury

Category:Monuments and memorials in London

Category:Art Nouveau sculptures and memorials

Greek mythology in western art and literature

Category:Ancient Greece in art and culture

Category:1893 establishments in the United Kingdom

Category:Drinking fountains in the United Kingdom

Category:Art Nouveau architecture in London

Category:Bronze sculptures in the City of Westminster

Category:Grade I listed monuments and memorials

Category:Aluminium sculptures in the United Kingdom


Shaftesbury Memorial Fountain

Prompt: Explain the abstract of this artwork, Shaftesbury Memorial Fountain.

The Shaftesbury Memorial Fountain, officially and popularly known as Eros, is a fountain surmounted by a winged statue of Anteros, located at the southeastern side of Piccadilly Circus in London, England. Moved after the Second World War from its original position in the centre of the circus, it was erected in 1892–93 to commemorate the philanthropic works of The 7th Earl of Shaftesbury, the Victorian politician and philanthropist, and his achievement in replacing child labour with school education. The fountain overlooks the south-west end of Shaftesbury Avenue, also named after the Earl.

Category:Nude sculptures in the United Kingdom

Anthony Ashley-Cooper, 7th Earl of Shaftesbury

Category:Grade I listed statues in the City of Westminster

Anthony Ashley Cooper, 7th Earl of Shaftesbury

Category:Monuments and memorials in London

Category:Art Nouveau sculptures and memorials

Greek mythology in western art and literature

Category:Ancient Greece in art and culture

Category:1893 establishments in the United Kingdom

Category:Drinking fountains in the United Kingdom

Category:Art Nouveau architecture in London

Category:Bronze sculptures in the City of Westminster

Category:Grade I listed monuments and memorials

Category:Aluminium sculptures in the United Kingdom


Shaftesbury Memorial Fountain

Prompt: How does Shaftesbury Memorial Fountain explain its abstract?

The Shaftesbury Memorial Fountain, officially and popularly known as Eros, is a fountain surmounted by a winged statue of Anteros, located at the southeastern side of Piccadilly Circus in London, England. Moved after the Second World War from its original position in the centre of the circus, it was erected in 1892–93 to commemorate the philanthropic works of The 7th Earl of Shaftesbury, the Victorian politician and philanthropist, and his achievement in replacing child labour with school education. The fountain overlooks the south-west end of Shaftesbury Avenue, also named after the Earl.

Category:Nude sculptures in the United Kingdom

Anthony Ashley-Cooper, 7th Earl of Shaftesbury

Category:Grade I listed statues in the City of Westminster

Anthony Ashley Cooper, 7th Earl of Shaftesbury

Category:Monuments and memorials in London

Category:Art Nouveau sculptures and memorials

Greek mythology in western art and literature

Category:Ancient Greece in art and culture

Category:1893 establishments in the United Kingdom

Category:Drinking fountains in the United Kingdom

Category:Art Nouveau architecture in London

Category:Bronze sculptures in the City of Westminster

Category:Grade I listed monuments and memorials

Category:Aluminium sculptures in the United Kingdom


Shaftesbury Memorial Fountain

Prompt: In Shaftesbury Memorial Fountain, how is the abstract discussed?

The Shaftesbury Memorial Fountain, officially and popularly known as Eros, is a fountain surmounted by a winged statue of Anteros, located at the southeastern side of Piccadilly Circus in London, England. Moved after the Second World War from its original position in the centre of the circus, it was erected in 1892–93 to commemorate the philanthropic works of The 7th Earl of Shaftesbury, the Victorian politician and philanthropist, and his achievement in replacing child labour with school education. The fountain overlooks the south-west end of Shaftesbury Avenue, also named after the Earl.

Category:Nude sculptures in the United Kingdom

Anthony Ashley-Cooper, 7th Earl of Shaftesbury

Category:Grade I listed statues in the City of Westminster

Anthony Ashley Cooper, 7th Earl of Shaftesbury

Category:Monuments and memorials in London

Category:Art Nouveau sculptures and memorials

Greek mythology in western art and literature

Category:Ancient Greece in art and culture

Category:1893 establishments in the United Kingdom

Category:Drinking fountains in the United Kingdom

Category:Art Nouveau architecture in London

Category:Bronze sculptures in the City of Westminster

Category:Grade I listed monuments and memorials

Category:Aluminium sculptures in the United Kingdom


Shaftesbury Memorial Fountain

Prompt: Focus on Shaftesbury Memorial Fountain and explain the Description and history.

Alfred Gilbert's use of a nude figure on a public monument was controversial at the time of its construction, but it was generally well received by the public. The Magazine of Art described it as "a striking contrast to the dull ugliness of the generality of our street sculpture, ... a work which, while beautifying one of our hitherto desolate open spaces, should do much towards the elevation of public taste in the direction of decorative sculpture, and serve freedom for the metropolis from any further additions of the old order of monumental monstrosities." The statue has been called "London's most famous work of sculpture"; a graphical illustration of it is used as the symbol of the Evening Standard newspaper and appears on its masthead. It was the first sculpture in the world to be cast in aluminium and is set on a bronze fountain, which itself inspired the marine motifs that Gilbert carved on the statue.Although the statue is generally known as Eros, it was created as an image of that Greek god's brother, Anteros. The sculptor Alfred Gilbert had already sculpted a statue of Anteros and, when commissioned for the Shaftesbury Memorial Fountain, chose to reproduce the same subject, who, as "The God of Selfless Love" was deemed to represent the philanthropic 7th Earl of Shaftesbury suitably. Gilbert described Anteros as portraying "reflective and mature love, as opposed to Eros or Cupid, the frivolous tyrant." Gilbert commented on his reason for the statue, saying:As to the figure surmounting the whole if I must confess to a meaning or a raison d être for its being there I confess to have been actuated in its design by a desire to symbolise the work of Lord Shaftesbury the blindfolded Love sending forth indiscriminately yet with purpose his missile of kindness always with the swiftness the bird has from its wings never ceasing to breathe or reflect critically but ever soaring onwards regardless of its own peril and dangers.The model for the sculpture was Gilbert's studio assistant, a 16-year-old Anglo-Italian, Angelo Colarossi (born 1875 in Shepherd's Bush).Fernando Meacci was involved in the moulding of the fountain and it was probably cast by George Broad & Son.The memorial was unveiled by The 1st Duke of Westminster on 29 June 1893. Following the unveiling there were numerous complaints. Some felt it was sited in a vulgar part of town (the theatre district), and others felt that it was too sensual as a memorial for a famously sober and respectable Earl. Some of the objections were tempered by renaming the statue as The Angel of Christian Charity, which was the nearest approximation that could be invented in Christian terms for the role Anteros played in the Greek pantheon. However, the name never became widely known and the statue was thence referred to as Eros, the god of sensual love; inappropriate some said in relation to the Earl's commemoration, but hailed by others as an ironic representation of the more carnal side of the neighbourhood, into which Soho had developed.The whole memorial has been removed from the circus twice: In 1925, construction began on the new tube station directly beneath the memorial. The memorial was taken away and put in Embankment Gardens, until it was returned in 1931. When the Second World War broke out in 1939, the statue only was removed for safety and kept in Egham.It was returned to Piccadilly Circus on 29 June 1947.The statue was again removed in the 1980s – this time for restoration – and resited upon its return in February 1985. During the restoration a set of plaster casts was unearthed in the basements of the Victoria and Albert Museum which revealed damage to the statue.The statue was vandalised in 1990 and after radiography and restoration returned in 1994.In May 2012 the statue had a new bow string fitted after the original had been broken by a tourist.In the winter of 2013/14, the statue was covered with a PVC snow globe featuring internal fans blowing the "snowflakes". This also had the function of protecting the statue from vandalism and it was planned to return in subsequent years. However, strong winds caused the globe to become damaged and deflate and it was not subsequently repaired.In the winter of 2014/15, octagonal advertising hoardings forming a box for giant Christmas presents served a similar function.

Category:Nude sculptures in the United Kingdom

Anthony Ashley-Cooper, 7th Earl of Shaftesbury

Category:Grade I listed statues in the City of Westminster

Anthony Ashley Cooper, 7th Earl of Shaftesbury

Category:Monuments and memorials in London

Category:Art Nouveau sculptures and memorials

Greek mythology in western art and literature

Category:Ancient Greece in art and culture

Category:1893 establishments in the United Kingdom

Category:Drinking fountains in the United Kingdom

Category:Art Nouveau architecture in London

Category:Bronze sculptures in the City of Westminster

Category:Grade I listed monuments and memorials

Category:Aluminium sculptures in the United Kingdom


Shaftesbury Memorial Fountain

Prompt: Explain the Description and history of this artwork, Shaftesbury Memorial Fountain.

Alfred Gilbert's use of a nude figure on a public monument was controversial at the time of its construction, but it was generally well received by the public. The Magazine of Art described it as "a striking contrast to the dull ugliness of the generality of our street sculpture, ... a work which, while beautifying one of our hitherto desolate open spaces, should do much towards the elevation of public taste in the direction of decorative sculpture, and serve freedom for the metropolis from any further additions of the old order of monumental monstrosities." The statue has been called "London's most famous work of sculpture"; a graphical illustration of it is used as the symbol of the Evening Standard newspaper and appears on its masthead. It was the first sculpture in the world to be cast in aluminium and is set on a bronze fountain, which itself inspired the marine motifs that Gilbert carved on the statue.Although the statue is generally known as Eros, it was created as an image of that Greek god's brother, Anteros. The sculptor Alfred Gilbert had already sculpted a statue of Anteros and, when commissioned for the Shaftesbury Memorial Fountain, chose to reproduce the same subject, who, as "The God of Selfless Love" was deemed to represent the philanthropic 7th Earl of Shaftesbury suitably. Gilbert described Anteros as portraying "reflective and mature love, as opposed to Eros or Cupid, the frivolous tyrant." Gilbert commented on his reason for the statue, saying:As to the figure surmounting the whole if I must confess to a meaning or a raison d être for its being there I confess to have been actuated in its design by a desire to symbolise the work of Lord Shaftesbury the blindfolded Love sending forth indiscriminately yet with purpose his missile of kindness always with the swiftness the bird has from its wings never ceasing to breathe or reflect critically but ever soaring onwards regardless of its own peril and dangers.The model for the sculpture was Gilbert's studio assistant, a 16-year-old Anglo-Italian, Angelo Colarossi (born 1875 in Shepherd's Bush).Fernando Meacci was involved in the moulding of the fountain and it was probably cast by George Broad & Son.The memorial was unveiled by The 1st Duke of Westminster on 29 June 1893. Following the unveiling there were numerous complaints. Some felt it was sited in a vulgar part of town (the theatre district), and others felt that it was too sensual as a memorial for a famously sober and respectable Earl. Some of the objections were tempered by renaming the statue as The Angel of Christian Charity, which was the nearest approximation that could be invented in Christian terms for the role Anteros played in the Greek pantheon. However, the name never became widely known and the statue was thence referred to as Eros, the god of sensual love; inappropriate some said in relation to the Earl's commemoration, but hailed by others as an ironic representation of the more carnal side of the neighbourhood, into which Soho had developed.The whole memorial has been removed from the circus twice: In 1925, construction began on the new tube station directly beneath the memorial. The memorial was taken away and put in Embankment Gardens, until it was returned in 1931. When the Second World War broke out in 1939, the statue only was removed for safety and kept in Egham.It was returned to Piccadilly Circus on 29 June 1947.The statue was again removed in the 1980s – this time for restoration – and resited upon its return in February 1985. During the restoration a set of plaster casts was unearthed in the basements of the Victoria and Albert Museum which revealed damage to the statue.The statue was vandalised in 1990 and after radiography and restoration returned in 1994.In May 2012 the statue had a new bow string fitted after the original had been broken by a tourist.In the winter of 2013/14, the statue was covered with a PVC snow globe featuring internal fans blowing the "snowflakes". This also had the function of protecting the statue from vandalism and it was planned to return in subsequent years. However, strong winds caused the globe to become damaged and deflate and it was not subsequently repaired.In the winter of 2014/15, octagonal advertising hoardings forming a box for giant Christmas presents served a similar function.

Category:Nude sculptures in the United Kingdom

Anthony Ashley-Cooper, 7th Earl of Shaftesbury

Category:Grade I listed statues in the City of Westminster

Anthony Ashley Cooper, 7th Earl of Shaftesbury

Category:Monuments and memorials in London

Category:Art Nouveau sculptures and memorials

Greek mythology in western art and literature

Category:Ancient Greece in art and culture

Category:1893 establishments in the United Kingdom

Category:Drinking fountains in the United Kingdom

Category:Art Nouveau architecture in London

Category:Bronze sculptures in the City of Westminster

Category:Grade I listed monuments and memorials

Category:Aluminium sculptures in the United Kingdom


Shaftesbury Memorial Fountain

Prompt: How does Shaftesbury Memorial Fountain explain its Description and history?

Alfred Gilbert's use of a nude figure on a public monument was controversial at the time of its construction, but it was generally well received by the public. The Magazine of Art described it as "a striking contrast to the dull ugliness of the generality of our street sculpture, ... a work which, while beautifying one of our hitherto desolate open spaces, should do much towards the elevation of public taste in the direction of decorative sculpture, and serve freedom for the metropolis from any further additions of the old order of monumental monstrosities." The statue has been called "London's most famous work of sculpture"; a graphical illustration of it is used as the symbol of the Evening Standard newspaper and appears on its masthead. It was the first sculpture in the world to be cast in aluminium and is set on a bronze fountain, which itself inspired the marine motifs that Gilbert carved on the statue.Although the statue is generally known as Eros, it was created as an image of that Greek god's brother, Anteros. The sculptor Alfred Gilbert had already sculpted a statue of Anteros and, when commissioned for the Shaftesbury Memorial Fountain, chose to reproduce the same subject, who, as "The God of Selfless Love" was deemed to represent the philanthropic 7th Earl of Shaftesbury suitably. Gilbert described Anteros as portraying "reflective and mature love, as opposed to Eros or Cupid, the frivolous tyrant." Gilbert commented on his reason for the statue, saying:As to the figure surmounting the whole if I must confess to a meaning or a raison d être for its being there I confess to have been actuated in its design by a desire to symbolise the work of Lord Shaftesbury the blindfolded Love sending forth indiscriminately yet with purpose his missile of kindness always with the swiftness the bird has from its wings never ceasing to breathe or reflect critically but ever soaring onwards regardless of its own peril and dangers.The model for the sculpture was Gilbert's studio assistant, a 16-year-old Anglo-Italian, Angelo Colarossi (born 1875 in Shepherd's Bush).Fernando Meacci was involved in the moulding of the fountain and it was probably cast by George Broad & Son.The memorial was unveiled by The 1st Duke of Westminster on 29 June 1893. Following the unveiling there were numerous complaints. Some felt it was sited in a vulgar part of town (the theatre district), and others felt that it was too sensual as a memorial for a famously sober and respectable Earl. Some of the objections were tempered by renaming the statue as The Angel of Christian Charity, which was the nearest approximation that could be invented in Christian terms for the role Anteros played in the Greek pantheon. However, the name never became widely known and the statue was thence referred to as Eros, the god of sensual love; inappropriate some said in relation to the Earl's commemoration, but hailed by others as an ironic representation of the more carnal side of the neighbourhood, into which Soho had developed.The whole memorial has been removed from the circus twice: In 1925, construction began on the new tube station directly beneath the memorial. The memorial was taken away and put in Embankment Gardens, until it was returned in 1931. When the Second World War broke out in 1939, the statue only was removed for safety and kept in Egham.It was returned to Piccadilly Circus on 29 June 1947.The statue was again removed in the 1980s – this time for restoration – and resited upon its return in February 1985. During the restoration a set of plaster casts was unearthed in the basements of the Victoria and Albert Museum which revealed damage to the statue.The statue was vandalised in 1990 and after radiography and restoration returned in 1994.In May 2012 the statue had a new bow string fitted after the original had been broken by a tourist.In the winter of 2013/14, the statue was covered with a PVC snow globe featuring internal fans blowing the "snowflakes". This also had the function of protecting the statue from vandalism and it was planned to return in subsequent years. However, strong winds caused the globe to become damaged and deflate and it was not subsequently repaired.In the winter of 2014/15, octagonal advertising hoardings forming a box for giant Christmas presents served a similar function.

Category:Nude sculptures in the United Kingdom

Anthony Ashley-Cooper, 7th Earl of Shaftesbury

Category:Grade I listed statues in the City of Westminster

Anthony Ashley Cooper, 7th Earl of Shaftesbury

Category:Monuments and memorials in London

Category:Art Nouveau sculptures and memorials

Greek mythology in western art and literature

Category:Ancient Greece in art and culture

Category:1893 establishments in the United Kingdom

Category:Drinking fountains in the United Kingdom

Category:Art Nouveau architecture in London

Category:Bronze sculptures in the City of Westminster

Category:Grade I listed monuments and memorials

Category:Aluminium sculptures in the United Kingdom


Shaftesbury Memorial Fountain

Prompt: In Shaftesbury Memorial Fountain, how is the Description and history discussed?

Alfred Gilbert's use of a nude figure on a public monument was controversial at the time of its construction, but it was generally well received by the public. The Magazine of Art described it as "a striking contrast to the dull ugliness of the generality of our street sculpture, ... a work which, while beautifying one of our hitherto desolate open spaces, should do much towards the elevation of public taste in the direction of decorative sculpture, and serve freedom for the metropolis from any further additions of the old order of monumental monstrosities." The statue has been called "London's most famous work of sculpture"; a graphical illustration of it is used as the symbol of the Evening Standard newspaper and appears on its masthead. It was the first sculpture in the world to be cast in aluminium and is set on a bronze fountain, which itself inspired the marine motifs that Gilbert carved on the statue.Although the statue is generally known as Eros, it was created as an image of that Greek god's brother, Anteros. The sculptor Alfred Gilbert had already sculpted a statue of Anteros and, when commissioned for the Shaftesbury Memorial Fountain, chose to reproduce the same subject, who, as "The God of Selfless Love" was deemed to represent the philanthropic 7th Earl of Shaftesbury suitably. Gilbert described Anteros as portraying "reflective and mature love, as opposed to Eros or Cupid, the frivolous tyrant." Gilbert commented on his reason for the statue, saying:As to the figure surmounting the whole if I must confess to a meaning or a raison d être for its being there I confess to have been actuated in its design by a desire to symbolise the work of Lord Shaftesbury the blindfolded Love sending forth indiscriminately yet with purpose his missile of kindness always with the swiftness the bird has from its wings never ceasing to breathe or reflect critically but ever soaring onwards regardless of its own peril and dangers.The model for the sculpture was Gilbert's studio assistant, a 16-year-old Anglo-Italian, Angelo Colarossi (born 1875 in Shepherd's Bush).Fernando Meacci was involved in the moulding of the fountain and it was probably cast by George Broad & Son.The memorial was unveiled by The 1st Duke of Westminster on 29 June 1893. Following the unveiling there were numerous complaints. Some felt it was sited in a vulgar part of town (the theatre district), and others felt that it was too sensual as a memorial for a famously sober and respectable Earl. Some of the objections were tempered by renaming the statue as The Angel of Christian Charity, which was the nearest approximation that could be invented in Christian terms for the role Anteros played in the Greek pantheon. However, the name never became widely known and the statue was thence referred to as Eros, the god of sensual love; inappropriate some said in relation to the Earl's commemoration, but hailed by others as an ironic representation of the more carnal side of the neighbourhood, into which Soho had developed.The whole memorial has been removed from the circus twice: In 1925, construction began on the new tube station directly beneath the memorial. The memorial was taken away and put in Embankment Gardens, until it was returned in 1931. When the Second World War broke out in 1939, the statue only was removed for safety and kept in Egham.It was returned to Piccadilly Circus on 29 June 1947.The statue was again removed in the 1980s – this time for restoration – and resited upon its return in February 1985. During the restoration a set of plaster casts was unearthed in the basements of the Victoria and Albert Museum which revealed damage to the statue.The statue was vandalised in 1990 and after radiography and restoration returned in 1994.In May 2012 the statue had a new bow string fitted after the original had been broken by a tourist.In the winter of 2013/14, the statue was covered with a PVC snow globe featuring internal fans blowing the "snowflakes". This also had the function of protecting the statue from vandalism and it was planned to return in subsequent years. However, strong winds caused the globe to become damaged and deflate and it was not subsequently repaired.In the winter of 2014/15, octagonal advertising hoardings forming a box for giant Christmas presents served a similar function.

Category:Nude sculptures in the United Kingdom

Anthony Ashley-Cooper, 7th Earl of Shaftesbury

Category:Grade I listed statues in the City of Westminster

Anthony Ashley Cooper, 7th Earl of Shaftesbury

Category:Monuments and memorials in London

Category:Art Nouveau sculptures and memorials

Greek mythology in western art and literature

Category:Ancient Greece in art and culture

Category:1893 establishments in the United Kingdom

Category:Drinking fountains in the United Kingdom

Category:Art Nouveau architecture in London

Category:Bronze sculptures in the City of Westminster

Category:Grade I listed monuments and memorials

Category:Aluminium sculptures in the United Kingdom


The Sea of Ice

Prompt: Focus on The Sea of Ice and explain the abstract.

The Sea of Ice, (German: Das Eismeer) (1823–1824), is an oil painting that depicts a shipwreck in the Arctic by the German Romantic painter Caspar David Friedrich. Before 1826 this painting was known as The Polar Sea.The work was first exhibited at the Prague Academy exhibition in 1824 with the title An Idealized Scene of an Arctic Sea, with a Wrecked Ship on the Heaped Masses of Ice. Considered one of Friedrich's masterpieces, the radical composition and subject matter were unusual for their time and the work was met with incomprehension. The painting was still unsold when Friedrich died in 1840. It is currently held by the Kunsthalle Hamburg, Germany.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: Explain the abstract of this artwork, The Sea of Ice.

The Sea of Ice, (German: Das Eismeer) (1823–1824), is an oil painting that depicts a shipwreck in the Arctic by the German Romantic painter Caspar David Friedrich. Before 1826 this painting was known as The Polar Sea.The work was first exhibited at the Prague Academy exhibition in 1824 with the title An Idealized Scene of an Arctic Sea, with a Wrecked Ship on the Heaped Masses of Ice. Considered one of Friedrich's masterpieces, the radical composition and subject matter were unusual for their time and the work was met with incomprehension. The painting was still unsold when Friedrich died in 1840. It is currently held by the Kunsthalle Hamburg, Germany.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: How does The Sea of Ice explain its abstract?

The Sea of Ice, (German: Das Eismeer) (1823–1824), is an oil painting that depicts a shipwreck in the Arctic by the German Romantic painter Caspar David Friedrich. Before 1826 this painting was known as The Polar Sea.The work was first exhibited at the Prague Academy exhibition in 1824 with the title An Idealized Scene of an Arctic Sea, with a Wrecked Ship on the Heaped Masses of Ice. Considered one of Friedrich's masterpieces, the radical composition and subject matter were unusual for their time and the work was met with incomprehension. The painting was still unsold when Friedrich died in 1840. It is currently held by the Kunsthalle Hamburg, Germany.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: In The Sea of Ice, how is the abstract discussed?

The Sea of Ice, (German: Das Eismeer) (1823–1824), is an oil painting that depicts a shipwreck in the Arctic by the German Romantic painter Caspar David Friedrich. Before 1826 this painting was known as The Polar Sea.The work was first exhibited at the Prague Academy exhibition in 1824 with the title An Idealized Scene of an Arctic Sea, with a Wrecked Ship on the Heaped Masses of Ice. Considered one of Friedrich's masterpieces, the radical composition and subject matter were unusual for their time and the work was met with incomprehension. The painting was still unsold when Friedrich died in 1840. It is currently held by the Kunsthalle Hamburg, Germany.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: Focus on The Sea of Ice and explain the Background on Friedrich.

Caspar David Friedrich was born on 5 September 1774 in Greifswald, Germany. He grew up a Protestant. Friedrich began studying art with a drawing teacher from the University of Greifswald named Johann Gottfried Quistorp. He went on to study at the Akademi for de Skønne Kunster in Copenhagen, Denmark from 1794 to 1798. After this Friedrich studied at the Hochschule der Bildenen Künste in Dresden, Germany.  Friedrich decided to live the rest of his life in Dresden where he died on May 7, 1840.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: Explain the Background on Friedrich of this artwork, The Sea of Ice.

Caspar David Friedrich was born on 5 September 1774 in Greifswald, Germany. He grew up a Protestant. Friedrich began studying art with a drawing teacher from the University of Greifswald named Johann Gottfried Quistorp. He went on to study at the Akademi for de Skønne Kunster in Copenhagen, Denmark from 1794 to 1798. After this Friedrich studied at the Hochschule der Bildenen Künste in Dresden, Germany.  Friedrich decided to live the rest of his life in Dresden where he died on May 7, 1840.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: How does The Sea of Ice explain its Background on Friedrich?

Caspar David Friedrich was born on 5 September 1774 in Greifswald, Germany. He grew up a Protestant. Friedrich began studying art with a drawing teacher from the University of Greifswald named Johann Gottfried Quistorp. He went on to study at the Akademi for de Skønne Kunster in Copenhagen, Denmark from 1794 to 1798. After this Friedrich studied at the Hochschule der Bildenen Künste in Dresden, Germany.  Friedrich decided to live the rest of his life in Dresden where he died on May 7, 1840.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: In The Sea of Ice, how is the Background on Friedrich discussed?

Caspar David Friedrich was born on 5 September 1774 in Greifswald, Germany. He grew up a Protestant. Friedrich began studying art with a drawing teacher from the University of Greifswald named Johann Gottfried Quistorp. He went on to study at the Akademi for de Skønne Kunster in Copenhagen, Denmark from 1794 to 1798. After this Friedrich studied at the Hochschule der Bildenen Künste in Dresden, Germany.  Friedrich decided to live the rest of his life in Dresden where he died on May 7, 1840.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: In the context of The Sea of Ice, explain the Romanticism and the Background on Friedrich.

The Romantic movement emerged at the end of the eighteenth century. Romanticism was both an artistic movement and an approach to life. It rejected the Enlightenment ideas of rationalism and intellect in favor of religion, emotion, and culture. A major theme in Romanticism is the focus on nature as the subject.In the 19th century many Germans were interested in the Arctic including Friedrich. In German Romanticism the North was seen as a positive thing while the classic south was a negative thing.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: Explain the Romanticism about the Background on Friedrich of this artwork, The Sea of Ice.

The Romantic movement emerged at the end of the eighteenth century. Romanticism was both an artistic movement and an approach to life. It rejected the Enlightenment ideas of rationalism and intellect in favor of religion, emotion, and culture. A major theme in Romanticism is the focus on nature as the subject.In the 19th century many Germans were interested in the Arctic including Friedrich. In German Romanticism the North was seen as a positive thing while the classic south was a negative thing.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: In The Sea of Ice, how is the Romanticism of the Background on Friedrich explained?

The Romantic movement emerged at the end of the eighteenth century. Romanticism was both an artistic movement and an approach to life. It rejected the Enlightenment ideas of rationalism and intellect in favor of religion, emotion, and culture. A major theme in Romanticism is the focus on nature as the subject.In the 19th century many Germans were interested in the Arctic including Friedrich. In German Romanticism the North was seen as a positive thing while the classic south was a negative thing.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: Describe the characteristics of the Romanticism in The Sea of Ice's Background on Friedrich.

The Romantic movement emerged at the end of the eighteenth century. Romanticism was both an artistic movement and an approach to life. It rejected the Enlightenment ideas of rationalism and intellect in favor of religion, emotion, and culture. A major theme in Romanticism is the focus on nature as the subject.In the 19th century many Germans were interested in the Arctic including Friedrich. In German Romanticism the North was seen as a positive thing while the classic south was a negative thing.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: In the context of The Sea of Ice, explain the Friedrich and Romanticism and the Background on Friedrich.

Like many other painters in the 19th century, Friedrich decided to focus on landscapes as the main subjects of his paintings. Friedrich's style is considered to fit under the category of Romanticism because of his paintings of nature. His goal was to create on the canvas the images in his mind. Through his paintings, Friedrich attempted to show the spiritual and religious meaning of nature. Friedrich is famous for creating spiritual meaning in many of his paintings.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: Explain the Friedrich and Romanticism about the Background on Friedrich of this artwork, The Sea of Ice.

Like many other painters in the 19th century, Friedrich decided to focus on landscapes as the main subjects of his paintings. Friedrich's style is considered to fit under the category of Romanticism because of his paintings of nature. His goal was to create on the canvas the images in his mind. Through his paintings, Friedrich attempted to show the spiritual and religious meaning of nature. Friedrich is famous for creating spiritual meaning in many of his paintings.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: In The Sea of Ice, how is the Friedrich and Romanticism of the Background on Friedrich explained?

Like many other painters in the 19th century, Friedrich decided to focus on landscapes as the main subjects of his paintings. Friedrich's style is considered to fit under the category of Romanticism because of his paintings of nature. His goal was to create on the canvas the images in his mind. Through his paintings, Friedrich attempted to show the spiritual and religious meaning of nature. Friedrich is famous for creating spiritual meaning in many of his paintings.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: Describe the characteristics of the Friedrich and Romanticism in The Sea of Ice's Background on Friedrich.

Like many other painters in the 19th century, Friedrich decided to focus on landscapes as the main subjects of his paintings. Friedrich's style is considered to fit under the category of Romanticism because of his paintings of nature. His goal was to create on the canvas the images in his mind. Through his paintings, Friedrich attempted to show the spiritual and religious meaning of nature. Friedrich is famous for creating spiritual meaning in many of his paintings.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: Focus on The Sea of Ice and explain the History.

The collector Johann Gottlob von Quandt commissioned two pictures that were to symbolize the south and the north. Johann Martin von Rohden received the commission to paint Southern Nature in her Abundant and Majestic Splendor, while the commission for Northern Nature in the whole of her Terrifying Beauty fell to Friedrich. However, as Vasily Zhukovsky in a letter dated 1821 reported, Friedrich – himself does not even know what he will paint; he waits for the moment of inspiration, which (in his own words) occasionally comes in a dream.Accounts of expeditions to the North Pole were occasionally published during those years which is probably how Friedrich became familiar with William Edward Parry's 1819–1820 expedition to find the Northwest Passage. In the winter of 1820–21, Friedrich made extensive oil studies of ice floes on the river Elbe, near Dresden. These were probably incorporated into The Sea of Ice.The image created a lasting impression on the French sculptor David d'Angers during his visit to Dresden in 1834, which he described as follows:Friedrich has a somber spirit. He has understood completely how to represent in landscape the great struggles of nature.The painting has been known by several different names. In the catalogue of Friedrich's estate compiled following his death, it was called Ice Picture. The Disaster-stricken North Pole Expedition.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle


The Sea of Ice

Prompt: Explain the History of this artwork, The Sea of Ice.

The collector Johann Gottlob von Quandt commissioned two pictures that were to symbolize the south and the north. Johann Martin von Rohden received the commission to paint Southern Nature in her Abundant and Majestic Splendor, while the commission for Northern Nature in the whole of her Terrifying Beauty fell to Friedrich. However, as Vasily Zhukovsky in a letter dated 1821 reported, Friedrich – himself does not even know what he will paint; he waits for the moment of inspiration, which (in his own words) occasionally comes in a dream.Accounts of expeditions to the North Pole were occasionally published during those years which is probably how Friedrich became familiar with William Edward Parry's 1819–1820 expedition to find the Northwest Passage. In the winter of 1820–21, Friedrich made extensive oil studies of ice floes on the river Elbe, near Dresden. These were probably incorporated into The Sea of Ice.The image created a lasting impression on the French sculptor David d'Angers during his visit to Dresden in 1834, which he described as follows:Friedrich has a somber spirit. He has understood completely how to represent in landscape the great struggles of nature.The painting has been known by several different names. In the catalogue of Friedrich's estate compiled following his death, it was called Ice Picture. The Disaster-stricken North Pole Expedition.

Category:Paintings by Caspar David Friedrich

File:Totes Meer (Dead Sea) 1940-1 Paul Nash.jpg

Category:Paintings in the Hamburger Kunsthalle