Prompt: How does Sir Nicholas Serota Makes an Acquisitions Decision explain its Shows?

The painting was first exhibited in March 2000 at Joe Crompton's Gallery 108, Leonard Street, Shoreditch, London as the highlight of the third Stuckist show, The Resignation of Sir Nicholas Serota, which included a display of paintings about Serota. A small black-and-white image appeared in the Daily Telegraph. It was displayed again in the Stuckists Real Turner Prize Show later in the year. Richard Dean wrote:Thomson has painted what must be the masterpiece of Stuckism so far: Sir Nicholas Serota Makes an Acquisitions Decision. Here the slick handling and smartass irony of Britart are turned on its champion to make a very funny point and a rather good portrait. This is an example of what the Situationists called detournement, using your enemies' own weapons against him.The painting was included in the show catalogue, a signed copy of which was left at the Tate for Serota by Thomson and Billy Childish, the co-founder of the Stuckists. Artist Ranko Bon described greeting Serota at the opening of that year's Turner Prize at Tate Britain:"Ah," I grabbed him by his bony shoulders, "when I look at you like this, I cannot but see Charles Thomson's portrait of you, which I saw last night at The Real Turner Prize Show in Shoreditch." I emphasized the word "real" with all my might. "Yes," Nick beamed back at me without even blinking, "I must see it!"It was exhibited in summer 2002 during The First Stuckist International, the inaugural show at Thomson's Stuckism International Gallery (which closed in 2005). Sarah Kent (a staunch advocate of Britart) said: "One might forgive his puerile humour if Thomson didn't consider it a serious weapon ... cut the ranting and Thomson could be a reasonable painter." Thomson pointed out in response, "it's reality. A few weeks after I did the painting, Tracey Emin was shown on TV getting very angry about an installation because someone had substituted another pair of knickers for hers ... That makes it a bit sad."The painting was also shown at the 2004 Liverpool Biennial in The Stuckists Punk Victorian show at the Walker Art Gallery. Serota went to the show and commented that it was "lively", while standing next to Thomson's painting of him.  John Russell Taylor started his review of the Biennial in The Times, "Say what you will about the Stuckists, they certainly know what they don’t like. In the eccentric British group’s latest show the most explicit target is clearly the Turner Prize: the attitude can be summed up in one painting, Charles Thomson’s Sir Nicholas Serota Makes an Acquisitions Decision". 160 paintings from the show were offered as a donation to the Tate, including Thomson's painting of Serota, but "not surprisingly" rejected by Serota, who said, "We do not feel that the work is of sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection."The painting was the centrepiece at Spectrum London gallery in September 2006 in the Go West exhibition and priced at £30,000. The show at Spectrum London was the Stuckists' first show in a commercial gallery in the West End of London. The Spectrum London director, Royden Prior, said people shouldn't just look at the politics, but should look beyond them because "These artists are good, and are part of art history,"  Jane Morris wrote in The Guardian, "If the stuckists go down in art history, and the jury is still out as to whether they will, Sir Nicholas Serota Makes an Acquisitions Decision by stuckist co-founder Charles Thomson may well become their signature piece." The Evening Standard said some people would see the display of the painting as revenge against Serota, after he had rejected the Stuckists' offer to donate work to the Tate; it also mentioned that the Stuckists had first drawn attention to the Tate's purchase of The Upper Room by Chris Ofili, a Tate trustee, which had led to the Tate being censured by the Charity Commission in 2006.

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: In Sir Nicholas Serota Makes an Acquisitions Decision, how is the Shows discussed?

The painting was first exhibited in March 2000 at Joe Crompton's Gallery 108, Leonard Street, Shoreditch, London as the highlight of the third Stuckist show, The Resignation of Sir Nicholas Serota, which included a display of paintings about Serota. A small black-and-white image appeared in the Daily Telegraph. It was displayed again in the Stuckists Real Turner Prize Show later in the year. Richard Dean wrote:Thomson has painted what must be the masterpiece of Stuckism so far: Sir Nicholas Serota Makes an Acquisitions Decision. Here the slick handling and smartass irony of Britart are turned on its champion to make a very funny point and a rather good portrait. This is an example of what the Situationists called detournement, using your enemies' own weapons against him.The painting was included in the show catalogue, a signed copy of which was left at the Tate for Serota by Thomson and Billy Childish, the co-founder of the Stuckists. Artist Ranko Bon described greeting Serota at the opening of that year's Turner Prize at Tate Britain:"Ah," I grabbed him by his bony shoulders, "when I look at you like this, I cannot but see Charles Thomson's portrait of you, which I saw last night at The Real Turner Prize Show in Shoreditch." I emphasized the word "real" with all my might. "Yes," Nick beamed back at me without even blinking, "I must see it!"It was exhibited in summer 2002 during The First Stuckist International, the inaugural show at Thomson's Stuckism International Gallery (which closed in 2005). Sarah Kent (a staunch advocate of Britart) said: "One might forgive his puerile humour if Thomson didn't consider it a serious weapon ... cut the ranting and Thomson could be a reasonable painter." Thomson pointed out in response, "it's reality. A few weeks after I did the painting, Tracey Emin was shown on TV getting very angry about an installation because someone had substituted another pair of knickers for hers ... That makes it a bit sad."The painting was also shown at the 2004 Liverpool Biennial in The Stuckists Punk Victorian show at the Walker Art Gallery. Serota went to the show and commented that it was "lively", while standing next to Thomson's painting of him.  John Russell Taylor started his review of the Biennial in The Times, "Say what you will about the Stuckists, they certainly know what they don’t like. In the eccentric British group’s latest show the most explicit target is clearly the Turner Prize: the attitude can be summed up in one painting, Charles Thomson’s Sir Nicholas Serota Makes an Acquisitions Decision". 160 paintings from the show were offered as a donation to the Tate, including Thomson's painting of Serota, but "not surprisingly" rejected by Serota, who said, "We do not feel that the work is of sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection."The painting was the centrepiece at Spectrum London gallery in September 2006 in the Go West exhibition and priced at £30,000. The show at Spectrum London was the Stuckists' first show in a commercial gallery in the West End of London. The Spectrum London director, Royden Prior, said people shouldn't just look at the politics, but should look beyond them because "These artists are good, and are part of art history,"  Jane Morris wrote in The Guardian, "If the stuckists go down in art history, and the jury is still out as to whether they will, Sir Nicholas Serota Makes an Acquisitions Decision by stuckist co-founder Charles Thomson may well become their signature piece." The Evening Standard said some people would see the display of the painting as revenge against Serota, after he had rejected the Stuckists' offer to donate work to the Tate; it also mentioned that the Stuckists had first drawn attention to the Tate's purchase of The Upper Room by Chris Ofili, a Tate trustee, which had led to the Tate being censured by the Charity Commission in 2006.

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: Focus on Sir Nicholas Serota Makes an Acquisitions Decision and explain the General election.

In 2001 Thomson stood in the General Election as the Stuckist Candidate. His opponent was Chris Smith, the then Culture Minister. Thomson adopted the painting of Sir Nicholas Serota and the knickers as the official logo of his party. He said "I can't see how the Electoral Commission would find it offensive. The real thing is on display at Tate Modern. What's more her knickers were funded by Chris Smith using public money."

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: Explain the General election of this artwork, Sir Nicholas Serota Makes an Acquisitions Decision.

In 2001 Thomson stood in the General Election as the Stuckist Candidate. His opponent was Chris Smith, the then Culture Minister. Thomson adopted the painting of Sir Nicholas Serota and the knickers as the official logo of his party. He said "I can't see how the Electoral Commission would find it offensive. The real thing is on display at Tate Modern. What's more her knickers were funded by Chris Smith using public money."

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: How does Sir Nicholas Serota Makes an Acquisitions Decision explain its General election?

In 2001 Thomson stood in the General Election as the Stuckist Candidate. His opponent was Chris Smith, the then Culture Minister. Thomson adopted the painting of Sir Nicholas Serota and the knickers as the official logo of his party. He said "I can't see how the Electoral Commission would find it offensive. The real thing is on display at Tate Modern. What's more her knickers were funded by Chris Smith using public money."

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: In Sir Nicholas Serota Makes an Acquisitions Decision, how is the General election discussed?

In 2001 Thomson stood in the General Election as the Stuckist Candidate. His opponent was Chris Smith, the then Culture Minister. Thomson adopted the painting of Sir Nicholas Serota and the knickers as the official logo of his party. He said "I can't see how the Electoral Commission would find it offensive. The real thing is on display at Tate Modern. What's more her knickers were funded by Chris Smith using public money."

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: Focus on Sir Nicholas Serota Makes an Acquisitions Decision and explain the Demonstrations.

The painting was used on one of the placards, when the Stuckists staged a protest at the unveiling of Rachel Whiteread's sculpture, Untitled Monument, in Trafalgar Square on 4 June 2001. Serota remonstrated with Thomson and told him the demonstration was a "cheap shot".The image has also been used on posters in Stuckist demonstrations which were held outside the Turner Prize at Tate Britain 2000–2006. Photographs such as the one shown are used on the Stuckist web site to promote and record the demonstration.In December 2006, during the Stuckists' demonstration, Thomson handed Serota a leaflet with the painting on it. This incident was caught by a freelance photographer, Rick Friend, on video, which was put on the Stuckism web site, along with the still image from it shown here. Serota stood on the steps of the Tate and held up the postcard, saying, "Can't you make another image?"

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: Explain the Demonstrations of this artwork, Sir Nicholas Serota Makes an Acquisitions Decision.

The painting was used on one of the placards, when the Stuckists staged a protest at the unveiling of Rachel Whiteread's sculpture, Untitled Monument, in Trafalgar Square on 4 June 2001. Serota remonstrated with Thomson and told him the demonstration was a "cheap shot".The image has also been used on posters in Stuckist demonstrations which were held outside the Turner Prize at Tate Britain 2000–2006. Photographs such as the one shown are used on the Stuckist web site to promote and record the demonstration.In December 2006, during the Stuckists' demonstration, Thomson handed Serota a leaflet with the painting on it. This incident was caught by a freelance photographer, Rick Friend, on video, which was put on the Stuckism web site, along with the still image from it shown here. Serota stood on the steps of the Tate and held up the postcard, saying, "Can't you make another image?"

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: How does Sir Nicholas Serota Makes an Acquisitions Decision explain its Demonstrations?

The painting was used on one of the placards, when the Stuckists staged a protest at the unveiling of Rachel Whiteread's sculpture, Untitled Monument, in Trafalgar Square on 4 June 2001. Serota remonstrated with Thomson and told him the demonstration was a "cheap shot".The image has also been used on posters in Stuckist demonstrations which were held outside the Turner Prize at Tate Britain 2000–2006. Photographs such as the one shown are used on the Stuckist web site to promote and record the demonstration.In December 2006, during the Stuckists' demonstration, Thomson handed Serota a leaflet with the painting on it. This incident was caught by a freelance photographer, Rick Friend, on video, which was put on the Stuckism web site, along with the still image from it shown here. Serota stood on the steps of the Tate and held up the postcard, saying, "Can't you make another image?"

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: In Sir Nicholas Serota Makes an Acquisitions Decision, how is the Demonstrations discussed?

The painting was used on one of the placards, when the Stuckists staged a protest at the unveiling of Rachel Whiteread's sculpture, Untitled Monument, in Trafalgar Square on 4 June 2001. Serota remonstrated with Thomson and told him the demonstration was a "cheap shot".The image has also been used on posters in Stuckist demonstrations which were held outside the Turner Prize at Tate Britain 2000–2006. Photographs such as the one shown are used on the Stuckist web site to promote and record the demonstration.In December 2006, during the Stuckists' demonstration, Thomson handed Serota a leaflet with the painting on it. This incident was caught by a freelance photographer, Rick Friend, on video, which was put on the Stuckism web site, along with the still image from it shown here. Serota stood on the steps of the Tate and held up the postcard, saying, "Can't you make another image?"

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: Focus on Sir Nicholas Serota Makes an Acquisitions Decision and explain the Reception.

Serota was described as being relatively unfazed by the message of Acquisitions Decision. He later visited the Stuckists' Punk Victorian show and conversed amicably with members, but ended his visit by rejecting an offered donation of their work as lacking "sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection" Writer Paul Vallely defended Serota from Stuckist campaigns, criticizing the movement's anti-conceptualism for its association with "forces of social reaction" such as the Daily Mail and upholding Serota as the "greatest single champion of modern art in Britain". Vallely stated that while "I did smile" at Acquisitions Decision, he equally admired Serota's "cool response to the Stuckist détournement".

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: Explain the Reception of this artwork, Sir Nicholas Serota Makes an Acquisitions Decision.

Serota was described as being relatively unfazed by the message of Acquisitions Decision. He later visited the Stuckists' Punk Victorian show and conversed amicably with members, but ended his visit by rejecting an offered donation of their work as lacking "sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection" Writer Paul Vallely defended Serota from Stuckist campaigns, criticizing the movement's anti-conceptualism for its association with "forces of social reaction" such as the Daily Mail and upholding Serota as the "greatest single champion of modern art in Britain". Vallely stated that while "I did smile" at Acquisitions Decision, he equally admired Serota's "cool response to the Stuckist détournement".

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: How does Sir Nicholas Serota Makes an Acquisitions Decision explain its Reception?

Serota was described as being relatively unfazed by the message of Acquisitions Decision. He later visited the Stuckists' Punk Victorian show and conversed amicably with members, but ended his visit by rejecting an offered donation of their work as lacking "sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection" Writer Paul Vallely defended Serota from Stuckist campaigns, criticizing the movement's anti-conceptualism for its association with "forces of social reaction" such as the Daily Mail and upholding Serota as the "greatest single champion of modern art in Britain". Vallely stated that while "I did smile" at Acquisitions Decision, he equally admired Serota's "cool response to the Stuckist détournement".

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: In Sir Nicholas Serota Makes an Acquisitions Decision, how is the Reception discussed?

Serota was described as being relatively unfazed by the message of Acquisitions Decision. He later visited the Stuckists' Punk Victorian show and conversed amicably with members, but ended his visit by rejecting an offered donation of their work as lacking "sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection" Writer Paul Vallely defended Serota from Stuckist campaigns, criticizing the movement's anti-conceptualism for its association with "forces of social reaction" such as the Daily Mail and upholding Serota as the "greatest single champion of modern art in Britain". Vallely stated that while "I did smile" at Acquisitions Decision, he equally admired Serota's "cool response to the Stuckist détournement".

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: Focus on Sir Nicholas Serota Makes an Acquisitions Decision and explain the Influence.

Thomson has said that his painting was the idea that Stella Vine used for her painting of Princess Diana, Hi Paul Can You Come Over, that launched her to fame when it was bought by Charles Saatchi in 2004. Three years before, she had been a member of the Stuckist group and also briefly married to Thomson, who said that she was aware of the media appeal of the idea, as he had shown her press cuttings of the painting.He said that she had not previously done a painting in that way and that "Her painting of Princess Diana was based on the same idea as my painting Sir Nicholas Serota Makes an Acquisitions Decision — namely to imagine what a famous person is thinking and write the words next to a portrait of them. She has made an intelligent, innovative and personal interpretation of influences to form her own identity, which is what all artists do. It is only fair and honest to acknowledge there was this help and there has been an influence." Vine refutes the idea that Thomson and the Stuckists had any role to play in her development, citing her inspiration instead as Sophie von Hellermann, Elizabeth Peyton, Anna Bjerger, Karen Kilimnik and Paul Housley Thomson also drew a comparison between his and Vine's painting and a later work, Break Art Free, by Gina Bold: "You can't deny there's a connection between those works, but they are all also works with a strong individual identity. You certainly wouldn't say it’s plagiarism, but they spring from the same underlying idea." Mark D in turn made a satirical version of Vine's painting, substituting Victoria Beckham for Princess Diana.

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: Explain the Influence of this artwork, Sir Nicholas Serota Makes an Acquisitions Decision.

Thomson has said that his painting was the idea that Stella Vine used for her painting of Princess Diana, Hi Paul Can You Come Over, that launched her to fame when it was bought by Charles Saatchi in 2004. Three years before, she had been a member of the Stuckist group and also briefly married to Thomson, who said that she was aware of the media appeal of the idea, as he had shown her press cuttings of the painting.He said that she had not previously done a painting in that way and that "Her painting of Princess Diana was based on the same idea as my painting Sir Nicholas Serota Makes an Acquisitions Decision — namely to imagine what a famous person is thinking and write the words next to a portrait of them. She has made an intelligent, innovative and personal interpretation of influences to form her own identity, which is what all artists do. It is only fair and honest to acknowledge there was this help and there has been an influence." Vine refutes the idea that Thomson and the Stuckists had any role to play in her development, citing her inspiration instead as Sophie von Hellermann, Elizabeth Peyton, Anna Bjerger, Karen Kilimnik and Paul Housley Thomson also drew a comparison between his and Vine's painting and a later work, Break Art Free, by Gina Bold: "You can't deny there's a connection between those works, but they are all also works with a strong individual identity. You certainly wouldn't say it’s plagiarism, but they spring from the same underlying idea." Mark D in turn made a satirical version of Vine's painting, substituting Victoria Beckham for Princess Diana.

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: How does Sir Nicholas Serota Makes an Acquisitions Decision explain its Influence?

Thomson has said that his painting was the idea that Stella Vine used for her painting of Princess Diana, Hi Paul Can You Come Over, that launched her to fame when it was bought by Charles Saatchi in 2004. Three years before, she had been a member of the Stuckist group and also briefly married to Thomson, who said that she was aware of the media appeal of the idea, as he had shown her press cuttings of the painting.He said that she had not previously done a painting in that way and that "Her painting of Princess Diana was based on the same idea as my painting Sir Nicholas Serota Makes an Acquisitions Decision — namely to imagine what a famous person is thinking and write the words next to a portrait of them. She has made an intelligent, innovative and personal interpretation of influences to form her own identity, which is what all artists do. It is only fair and honest to acknowledge there was this help and there has been an influence." Vine refutes the idea that Thomson and the Stuckists had any role to play in her development, citing her inspiration instead as Sophie von Hellermann, Elizabeth Peyton, Anna Bjerger, Karen Kilimnik and Paul Housley Thomson also drew a comparison between his and Vine's painting and a later work, Break Art Free, by Gina Bold: "You can't deny there's a connection between those works, but they are all also works with a strong individual identity. You certainly wouldn't say it’s plagiarism, but they spring from the same underlying idea." Mark D in turn made a satirical version of Vine's painting, substituting Victoria Beckham for Princess Diana.

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Prompt: In Sir Nicholas Serota Makes an Acquisitions Decision, how is the Influence discussed?

Thomson has said that his painting was the idea that Stella Vine used for her painting of Princess Diana, Hi Paul Can You Come Over, that launched her to fame when it was bought by Charles Saatchi in 2004. Three years before, she had been a member of the Stuckist group and also briefly married to Thomson, who said that she was aware of the media appeal of the idea, as he had shown her press cuttings of the painting.He said that she had not previously done a painting in that way and that "Her painting of Princess Diana was based on the same idea as my painting Sir Nicholas Serota Makes an Acquisitions Decision — namely to imagine what a famous person is thinking and write the words next to a portrait of them. She has made an intelligent, innovative and personal interpretation of influences to form her own identity, which is what all artists do. It is only fair and honest to acknowledge there was this help and there has been an influence." Vine refutes the idea that Thomson and the Stuckists had any role to play in her development, citing her inspiration instead as Sophie von Hellermann, Elizabeth Peyton, Anna Bjerger, Karen Kilimnik and Paul Housley Thomson also drew a comparison between his and Vine's painting and a later work, Break Art Free, by Gina Bold: "You can't deny there's a connection between those works, but they are all also works with a strong individual identity. You certainly wouldn't say it’s plagiarism, but they spring from the same underlying idea." Mark D in turn made a satirical version of Vine's painting, substituting Victoria Beckham for Princess Diana.

The first exhibition of the painting at Gallery 108, [[London

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

File:2004 Stuckist Turner demo 1 (2).jpg

Charity Commission for England and Wales

File:2006, Stuckist Turner Prize demo 2006 (1).jpg

Category:English contemporary works of art


Lady Seated at a Virginal

Prompt: Focus on Lady Seated at a Virginal and explain the abstract.

Lady Seated at a Virginal (Dutch: Zittende virginaalspeelster), also known as Young Woman Seated at a Virginal, is a genre painting created by the Dutch Golden Age painter Johannes Vermeer in about 1670–1672 and now in the National Gallery, London.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: Explain the abstract of this artwork, Lady Seated at a Virginal.

Lady Seated at a Virginal (Dutch: Zittende virginaalspeelster), also known as Young Woman Seated at a Virginal, is a genre painting created by the Dutch Golden Age painter Johannes Vermeer in about 1670–1672 and now in the National Gallery, London.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: How does Lady Seated at a Virginal explain its abstract?

Lady Seated at a Virginal (Dutch: Zittende virginaalspeelster), also known as Young Woman Seated at a Virginal, is a genre painting created by the Dutch Golden Age painter Johannes Vermeer in about 1670–1672 and now in the National Gallery, London.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: In Lady Seated at a Virginal, how is the abstract discussed?

Lady Seated at a Virginal (Dutch: Zittende virginaalspeelster), also known as Young Woman Seated at a Virginal, is a genre painting created by the Dutch Golden Age painter Johannes Vermeer in about 1670–1672 and now in the National Gallery, London.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: Focus on Lady Seated at a Virginal and explain the Lady Seated at a Virginal.

Another painting, probably also by Johannes Vermeer known as A Young Woman Seated at the Virginals, belongs to a private collection shows also a young woman seated at a virginal. This painting and Lady Seated at a Virginal are quite separate works, and as each are known by alternate names confusion between them may exist.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: Explain the Lady Seated at a Virginal of this artwork, Lady Seated at a Virginal.

Another painting, probably also by Johannes Vermeer known as A Young Woman Seated at the Virginals, belongs to a private collection shows also a young woman seated at a virginal. This painting and Lady Seated at a Virginal are quite separate works, and as each are known by alternate names confusion between them may exist.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: How does Lady Seated at a Virginal explain its Lady Seated at a Virginal?

Another painting, probably also by Johannes Vermeer known as A Young Woman Seated at the Virginals, belongs to a private collection shows also a young woman seated at a virginal. This painting and Lady Seated at a Virginal are quite separate works, and as each are known by alternate names confusion between them may exist.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: In Lady Seated at a Virginal, how is the Lady Seated at a Virginal discussed?

Another painting, probably also by Johannes Vermeer known as A Young Woman Seated at the Virginals, belongs to a private collection shows also a young woman seated at a virginal. This painting and Lady Seated at a Virginal are quite separate works, and as each are known by alternate names confusion between them may exist.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: Focus on Lady Seated at a Virginal and explain the Description.

The picture shows a woman facing left and playing a virginal. In the left foreground is a viola da gamba holding a bow between its strings. A landscape is painted on the inside lid of the virginal, and the painting on the wall is either the original or a copy of The Procuress by Dirck van Baburen (c. 1622, now in the Museum of Fine Arts in Boston), which belonged to Vermeer's mother-in-law. The painting is 51.5 by 45.5 centimetres (20.3 in × 17.9 in).

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: Explain the Description of this artwork, Lady Seated at a Virginal.

The picture shows a woman facing left and playing a virginal. In the left foreground is a viola da gamba holding a bow between its strings. A landscape is painted on the inside lid of the virginal, and the painting on the wall is either the original or a copy of The Procuress by Dirck van Baburen (c. 1622, now in the Museum of Fine Arts in Boston), which belonged to Vermeer's mother-in-law. The painting is 51.5 by 45.5 centimetres (20.3 in × 17.9 in).

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: How does Lady Seated at a Virginal explain its Description?

The picture shows a woman facing left and playing a virginal. In the left foreground is a viola da gamba holding a bow between its strings. A landscape is painted on the inside lid of the virginal, and the painting on the wall is either the original or a copy of The Procuress by Dirck van Baburen (c. 1622, now in the Museum of Fine Arts in Boston), which belonged to Vermeer's mother-in-law. The painting is 51.5 by 45.5 centimetres (20.3 in × 17.9 in).

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: In Lady Seated at a Virginal, how is the Description discussed?

The picture shows a woman facing left and playing a virginal. In the left foreground is a viola da gamba holding a bow between its strings. A landscape is painted on the inside lid of the virginal, and the painting on the wall is either the original or a copy of The Procuress by Dirck van Baburen (c. 1622, now in the Museum of Fine Arts in Boston), which belonged to Vermeer's mother-in-law. The painting is 51.5 by 45.5 centimetres (20.3 in × 17.9 in).

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: Focus on Lady Seated at a Virginal and explain the Commentary.

Because of its style, the painting has been dated to about 1670. It has been suggested that it and Lady Standing at a Virginal (also owned by the National Gallery) may have been created as pendants, because their sizes, date and subject matter are all similar. A recent study has shown that the canvas for the two paintings also came from the same bolt. In addition, the ground applied to the canvas appears identical to that used for both the Lady Standing and the New York Young Woman Seated. However their provenances before the 19th century differ, and Vermeer sometimes varied a theme in otherwise unrelated paintings. In the 19th century, both paintings were owned by the art critic Théophile Thoré, whose writings led to a resurgence of interest in Vermeer starting in 1866. The painting entered the National Gallery with the Salting Bequest in 1910.The painting is one of several works by Vermeer featuring keyboard instruments, including The Music Lesson, The Concert, and Lady Standing at a Virginal. Scholars believe these may all be based on the same instrument, built by Johannes Ruckers.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: Explain the Commentary of this artwork, Lady Seated at a Virginal.

Because of its style, the painting has been dated to about 1670. It has been suggested that it and Lady Standing at a Virginal (also owned by the National Gallery) may have been created as pendants, because their sizes, date and subject matter are all similar. A recent study has shown that the canvas for the two paintings also came from the same bolt. In addition, the ground applied to the canvas appears identical to that used for both the Lady Standing and the New York Young Woman Seated. However their provenances before the 19th century differ, and Vermeer sometimes varied a theme in otherwise unrelated paintings. In the 19th century, both paintings were owned by the art critic Théophile Thoré, whose writings led to a resurgence of interest in Vermeer starting in 1866. The painting entered the National Gallery with the Salting Bequest in 1910.The painting is one of several works by Vermeer featuring keyboard instruments, including The Music Lesson, The Concert, and Lady Standing at a Virginal. Scholars believe these may all be based on the same instrument, built by Johannes Ruckers.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: How does Lady Seated at a Virginal explain its Commentary?

Because of its style, the painting has been dated to about 1670. It has been suggested that it and Lady Standing at a Virginal (also owned by the National Gallery) may have been created as pendants, because their sizes, date and subject matter are all similar. A recent study has shown that the canvas for the two paintings also came from the same bolt. In addition, the ground applied to the canvas appears identical to that used for both the Lady Standing and the New York Young Woman Seated. However their provenances before the 19th century differ, and Vermeer sometimes varied a theme in otherwise unrelated paintings. In the 19th century, both paintings were owned by the art critic Théophile Thoré, whose writings led to a resurgence of interest in Vermeer starting in 1866. The painting entered the National Gallery with the Salting Bequest in 1910.The painting is one of several works by Vermeer featuring keyboard instruments, including The Music Lesson, The Concert, and Lady Standing at a Virginal. Scholars believe these may all be based on the same instrument, built by Johannes Ruckers.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Lady Seated at a Virginal

Prompt: In Lady Seated at a Virginal, how is the Commentary discussed?

Because of its style, the painting has been dated to about 1670. It has been suggested that it and Lady Standing at a Virginal (also owned by the National Gallery) may have been created as pendants, because their sizes, date and subject matter are all similar. A recent study has shown that the canvas for the two paintings also came from the same bolt. In addition, the ground applied to the canvas appears identical to that used for both the Lady Standing and the New York Young Woman Seated. However their provenances before the 19th century differ, and Vermeer sometimes varied a theme in otherwise unrelated paintings. In the 19th century, both paintings were owned by the art critic Théophile Thoré, whose writings led to a resurgence of interest in Vermeer starting in 1866. The painting entered the National Gallery with the Salting Bequest in 1910.The painting is one of several works by Vermeer featuring keyboard instruments, including The Music Lesson, The Concert, and Lady Standing at a Virginal. Scholars believe these may all be based on the same instrument, built by Johannes Ruckers.

Category:Paintings in the National Gallery, London

Category:Genre paintings by Johannes Vermeer


Man with a Glove

Prompt: Focus on Man with a Glove and explain the abstract.

Man with a Glove (French: L'Homme au Gant) is an oil-on-canvas portrait by the Italian Renaissance artist Titian, painted c. 1520. It is part of the collections of the Musée du Louvre, Paris.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: Explain the abstract of this artwork, Man with a Glove.

Man with a Glove (French: L'Homme au Gant) is an oil-on-canvas portrait by the Italian Renaissance artist Titian, painted c. 1520. It is part of the collections of the Musée du Louvre, Paris.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: How does Man with a Glove explain its abstract?

Man with a Glove (French: L'Homme au Gant) is an oil-on-canvas portrait by the Italian Renaissance artist Titian, painted c. 1520. It is part of the collections of the Musée du Louvre, Paris.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: In Man with a Glove, how is the abstract discussed?

Man with a Glove (French: L'Homme au Gant) is an oil-on-canvas portrait by the Italian Renaissance artist Titian, painted c. 1520. It is part of the collections of the Musée du Louvre, Paris.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: Focus on Man with a Glove and explain the History.

The work originates from the Gonzaga family's collection at Mantua. It was acquired by Charles I of England in 1627. Sometime after his beheading in 1649, the painting was auctioned and bought by the Cologne banker Eberhard Jabach.  Eventually, it came in the possession of Louis XIV of France, and was transferred from the Palace of Versailles to the Louvre in 1792.The figure has not been identified with certainty. He could be Girolamo Adorno, mentioned in a 1527 letter from Pietro Aretino to Federico Gonzaga, or Giambattista Malatesta, an agent of the Gonzaga in Venice. According to another hypothesis, he could be Ferrante Gonzaga, who was sixteen years old in 1523.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: Explain the History of this artwork, Man with a Glove.

The work originates from the Gonzaga family's collection at Mantua. It was acquired by Charles I of England in 1627. Sometime after his beheading in 1649, the painting was auctioned and bought by the Cologne banker Eberhard Jabach.  Eventually, it came in the possession of Louis XIV of France, and was transferred from the Palace of Versailles to the Louvre in 1792.The figure has not been identified with certainty. He could be Girolamo Adorno, mentioned in a 1527 letter from Pietro Aretino to Federico Gonzaga, or Giambattista Malatesta, an agent of the Gonzaga in Venice. According to another hypothesis, he could be Ferrante Gonzaga, who was sixteen years old in 1523.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: How does Man with a Glove explain its History?

The work originates from the Gonzaga family's collection at Mantua. It was acquired by Charles I of England in 1627. Sometime after his beheading in 1649, the painting was auctioned and bought by the Cologne banker Eberhard Jabach.  Eventually, it came in the possession of Louis XIV of France, and was transferred from the Palace of Versailles to the Louvre in 1792.The figure has not been identified with certainty. He could be Girolamo Adorno, mentioned in a 1527 letter from Pietro Aretino to Federico Gonzaga, or Giambattista Malatesta, an agent of the Gonzaga in Venice. According to another hypothesis, he could be Ferrante Gonzaga, who was sixteen years old in 1523.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: In Man with a Glove, how is the History discussed?

The work originates from the Gonzaga family's collection at Mantua. It was acquired by Charles I of England in 1627. Sometime after his beheading in 1649, the painting was auctioned and bought by the Cologne banker Eberhard Jabach.  Eventually, it came in the possession of Louis XIV of France, and was transferred from the Palace of Versailles to the Louvre in 1792.The figure has not been identified with certainty. He could be Girolamo Adorno, mentioned in a 1527 letter from Pietro Aretino to Federico Gonzaga, or Giambattista Malatesta, an agent of the Gonzaga in Venice. According to another hypothesis, he could be Ferrante Gonzaga, who was sixteen years old in 1523.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: Focus on Man with a Glove and explain the Description.

The painting portrays a three-quarters view of a male figure set against a flat black background. He appears to be looking at an indefinite point to the left of the canvas, with his left arm laid on his knee. He could be pointing at his gloves, which were a fashion statement at the time. He is dressed in a wide jacket and a white shirt, in the fashion of the period.The man's gloved left hand holds a second leather glove; an accessory used by the most refined gentlemen of the time. His right hand is adorned with a golden ring, a symbol of richness, and a necklace decorated with a sapphire and a pearl.  The use of a parapet in portraits was a common device of the young Titian.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: Explain the Description of this artwork, Man with a Glove.

The painting portrays a three-quarters view of a male figure set against a flat black background. He appears to be looking at an indefinite point to the left of the canvas, with his left arm laid on his knee. He could be pointing at his gloves, which were a fashion statement at the time. He is dressed in a wide jacket and a white shirt, in the fashion of the period.The man's gloved left hand holds a second leather glove; an accessory used by the most refined gentlemen of the time. His right hand is adorned with a golden ring, a symbol of richness, and a necklace decorated with a sapphire and a pearl.  The use of a parapet in portraits was a common device of the young Titian.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: How does Man with a Glove explain its Description?

The painting portrays a three-quarters view of a male figure set against a flat black background. He appears to be looking at an indefinite point to the left of the canvas, with his left arm laid on his knee. He could be pointing at his gloves, which were a fashion statement at the time. He is dressed in a wide jacket and a white shirt, in the fashion of the period.The man's gloved left hand holds a second leather glove; an accessory used by the most refined gentlemen of the time. His right hand is adorned with a golden ring, a symbol of richness, and a necklace decorated with a sapphire and a pearl.  The use of a parapet in portraits was a common device of the young Titian.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: In Man with a Glove, how is the Description discussed?

The painting portrays a three-quarters view of a male figure set against a flat black background. He appears to be looking at an indefinite point to the left of the canvas, with his left arm laid on his knee. He could be pointing at his gloves, which were a fashion statement at the time. He is dressed in a wide jacket and a white shirt, in the fashion of the period.The man's gloved left hand holds a second leather glove; an accessory used by the most refined gentlemen of the time. His right hand is adorned with a golden ring, a symbol of richness, and a necklace decorated with a sapphire and a pearl.  The use of a parapet in portraits was a common device of the young Titian.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: Focus on Man with a Glove and explain the In popular culture.

In Fred Saberhagen's Berserker series in the short story Patron of the Arts (first appeared in Worlds of If, Aug 1965), a human artist and a Berserker machine discuss the value of art and of this specific painting on a starship in the future after a space battle near the Sol system. In this short story, the Earth-Descended peoples place all of humanity's important artworks on an evacuation starship to preserve the works by sending them to Tau Epsilon.In Albert Camus's 1971 novel A Happy Death, a character called Eliane, whom Patrice Meursault describes as an Idealist, thinks that she looks like the figure from the painting and even has various reproductions of the painting decorating her room.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: Explain the In popular culture of this artwork, Man with a Glove.

In Fred Saberhagen's Berserker series in the short story Patron of the Arts (first appeared in Worlds of If, Aug 1965), a human artist and a Berserker machine discuss the value of art and of this specific painting on a starship in the future after a space battle near the Sol system. In this short story, the Earth-Descended peoples place all of humanity's important artworks on an evacuation starship to preserve the works by sending them to Tau Epsilon.In Albert Camus's 1971 novel A Happy Death, a character called Eliane, whom Patrice Meursault describes as an Idealist, thinks that she looks like the figure from the painting and even has various reproductions of the painting decorating her room.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: How does Man with a Glove explain its In popular culture?

In Fred Saberhagen's Berserker series in the short story Patron of the Arts (first appeared in Worlds of If, Aug 1965), a human artist and a Berserker machine discuss the value of art and of this specific painting on a starship in the future after a space battle near the Sol system. In this short story, the Earth-Descended peoples place all of humanity's important artworks on an evacuation starship to preserve the works by sending them to Tau Epsilon.In Albert Camus's 1971 novel A Happy Death, a character called Eliane, whom Patrice Meursault describes as an Idealist, thinks that she looks like the figure from the painting and even has various reproductions of the painting decorating her room.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Man with a Glove

Prompt: In Man with a Glove, how is the In popular culture discussed?

In Fred Saberhagen's Berserker series in the short story Patron of the Arts (first appeared in Worlds of If, Aug 1965), a human artist and a Berserker machine discuss the value of art and of this specific painting on a starship in the future after a space battle near the Sol system. In this short story, the Earth-Descended peoples place all of humanity's important artworks on an evacuation starship to preserve the works by sending them to Tau Epsilon.In Albert Camus's 1971 novel A Happy Death, a character called Eliane, whom Patrice Meursault describes as an Idealist, thinks that she looks like the figure from the painting and even has various reproductions of the painting decorating her room.

Category:Paintings in the Louvre by Italian artists

Category:Portrait paintings in the Louvre


Nude in a Black Armchair

Prompt: Focus on Nude in a Black Armchair and explain the abstract.

Nude in a Black Armchair (French: Nu au Fauteuil Noir) is an oil on canvas painting by Pablo Picasso. Painted on 9 March 1932, a time at which Picasso lived in Boisgeloup outside Paris, it is the first and largest of a series of paintings Picasso completed that year of his mistress Marie-Thérèse Walter. The painting was purchased by Les Wexner at Christie's auction in 1999 for the value of $45.1 million.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Explain the abstract of this artwork, Nude in a Black Armchair.

Nude in a Black Armchair (French: Nu au Fauteuil Noir) is an oil on canvas painting by Pablo Picasso. Painted on 9 March 1932, a time at which Picasso lived in Boisgeloup outside Paris, it is the first and largest of a series of paintings Picasso completed that year of his mistress Marie-Thérèse Walter. The painting was purchased by Les Wexner at Christie's auction in 1999 for the value of $45.1 million.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: How does Nude in a Black Armchair explain its abstract?

Nude in a Black Armchair (French: Nu au Fauteuil Noir) is an oil on canvas painting by Pablo Picasso. Painted on 9 March 1932, a time at which Picasso lived in Boisgeloup outside Paris, it is the first and largest of a series of paintings Picasso completed that year of his mistress Marie-Thérèse Walter. The painting was purchased by Les Wexner at Christie's auction in 1999 for the value of $45.1 million.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: In Nude in a Black Armchair, how is the abstract discussed?

Nude in a Black Armchair (French: Nu au Fauteuil Noir) is an oil on canvas painting by Pablo Picasso. Painted on 9 March 1932, a time at which Picasso lived in Boisgeloup outside Paris, it is the first and largest of a series of paintings Picasso completed that year of his mistress Marie-Thérèse Walter. The painting was purchased by Les Wexner at Christie's auction in 1999 for the value of $45.1 million.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Focus on Nude in a Black Armchair and explain the Background.

Picasso met Walter in 1927, while he was married to the Russian ballerina Olga Khokhlova. Their first meeting occurred outside the Galeries Lafayette in Paris, when Picasso stopped Walter in the street and asked to paint her portrait. Picasso was 45 years of age, but Walter, who was aged just 17, was impressed. In 2011, John Richardson, Picasso's biographer related this event. "She was at the Galeries Lafayette that day to buy a col Claudine—a Peter Pan collar—and matching cuffs. 'You have an interesting face,' Picasso told her. 'I would like to do a portrait of you. I am Picasso.' The name meant nothing to Marie-Thérèse, but the fact that an artist found her beautiful thrilled her." This was the beginning of a long-term affair that remained a secret until 1958.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Explain the Background of this artwork, Nude in a Black Armchair.

Picasso met Walter in 1927, while he was married to the Russian ballerina Olga Khokhlova. Their first meeting occurred outside the Galeries Lafayette in Paris, when Picasso stopped Walter in the street and asked to paint her portrait. Picasso was 45 years of age, but Walter, who was aged just 17, was impressed. In 2011, John Richardson, Picasso's biographer related this event. "She was at the Galeries Lafayette that day to buy a col Claudine—a Peter Pan collar—and matching cuffs. 'You have an interesting face,' Picasso told her. 'I would like to do a portrait of you. I am Picasso.' The name meant nothing to Marie-Thérèse, but the fact that an artist found her beautiful thrilled her." This was the beginning of a long-term affair that remained a secret until 1958.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: How does Nude in a Black Armchair explain its Background?

Picasso met Walter in 1927, while he was married to the Russian ballerina Olga Khokhlova. Their first meeting occurred outside the Galeries Lafayette in Paris, when Picasso stopped Walter in the street and asked to paint her portrait. Picasso was 45 years of age, but Walter, who was aged just 17, was impressed. In 2011, John Richardson, Picasso's biographer related this event. "She was at the Galeries Lafayette that day to buy a col Claudine—a Peter Pan collar—and matching cuffs. 'You have an interesting face,' Picasso told her. 'I would like to do a portrait of you. I am Picasso.' The name meant nothing to Marie-Thérèse, but the fact that an artist found her beautiful thrilled her." This was the beginning of a long-term affair that remained a secret until 1958.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: In Nude in a Black Armchair, how is the Background discussed?

Picasso met Walter in 1927, while he was married to the Russian ballerina Olga Khokhlova. Their first meeting occurred outside the Galeries Lafayette in Paris, when Picasso stopped Walter in the street and asked to paint her portrait. Picasso was 45 years of age, but Walter, who was aged just 17, was impressed. In 2011, John Richardson, Picasso's biographer related this event. "She was at the Galeries Lafayette that day to buy a col Claudine—a Peter Pan collar—and matching cuffs. 'You have an interesting face,' Picasso told her. 'I would like to do a portrait of you. I am Picasso.' The name meant nothing to Marie-Thérèse, but the fact that an artist found her beautiful thrilled her." This was the beginning of a long-term affair that remained a secret until 1958.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Focus on Nude in a Black Armchair and explain the Description.

This painting presents a nude female reclining on a black chair. In the background, the light of the sun can be seen shining through a window, which is partially obscured by a leafy indoor plant. The image is an expression of the artist's love for his model, which is evident in the use of fluid lines and the balance of colours. The painting is a portrait of Marie-Thérèse Walter, aged 22, who had been Picasso's mistress for the past five years.The art critic Richard Lacayo noted the influence of Henri Matisse in this painting, commenting that Picasso "borrowed Matisse's voluptuous curves as a sign for pleasure and his use of black to intensify pink."

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Explain the Description of this artwork, Nude in a Black Armchair.

This painting presents a nude female reclining on a black chair. In the background, the light of the sun can be seen shining through a window, which is partially obscured by a leafy indoor plant. The image is an expression of the artist's love for his model, which is evident in the use of fluid lines and the balance of colours. The painting is a portrait of Marie-Thérèse Walter, aged 22, who had been Picasso's mistress for the past five years.The art critic Richard Lacayo noted the influence of Henri Matisse in this painting, commenting that Picasso "borrowed Matisse's voluptuous curves as a sign for pleasure and his use of black to intensify pink."

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: How does Nude in a Black Armchair explain its Description?

This painting presents a nude female reclining on a black chair. In the background, the light of the sun can be seen shining through a window, which is partially obscured by a leafy indoor plant. The image is an expression of the artist's love for his model, which is evident in the use of fluid lines and the balance of colours. The painting is a portrait of Marie-Thérèse Walter, aged 22, who had been Picasso's mistress for the past five years.The art critic Richard Lacayo noted the influence of Henri Matisse in this painting, commenting that Picasso "borrowed Matisse's voluptuous curves as a sign for pleasure and his use of black to intensify pink."

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: In Nude in a Black Armchair, how is the Description discussed?

This painting presents a nude female reclining on a black chair. In the background, the light of the sun can be seen shining through a window, which is partially obscured by a leafy indoor plant. The image is an expression of the artist's love for his model, which is evident in the use of fluid lines and the balance of colours. The painting is a portrait of Marie-Thérèse Walter, aged 22, who had been Picasso's mistress for the past five years.The art critic Richard Lacayo noted the influence of Henri Matisse in this painting, commenting that Picasso "borrowed Matisse's voluptuous curves as a sign for pleasure and his use of black to intensify pink."

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Focus on Nude in a Black Armchair and explain the Significance and legacy.

Tate Modern exhibitions director Achim Borchardt-Hume emphasised that Picasso's relationships with his wife and his mistress had direct influence on his artwork. He said, "You can’t talk about Picasso without talking about his wife and his lover."Picasso's 1932 portraits of Walter have been described as the "undisputed highlight" of Picasso's "year of wonders".

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Explain the Significance and legacy of this artwork, Nude in a Black Armchair.

Tate Modern exhibitions director Achim Borchardt-Hume emphasised that Picasso's relationships with his wife and his mistress had direct influence on his artwork. He said, "You can’t talk about Picasso without talking about his wife and his lover."Picasso's 1932 portraits of Walter have been described as the "undisputed highlight" of Picasso's "year of wonders".

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: How does Nude in a Black Armchair explain its Significance and legacy?

Tate Modern exhibitions director Achim Borchardt-Hume emphasised that Picasso's relationships with his wife and his mistress had direct influence on his artwork. He said, "You can’t talk about Picasso without talking about his wife and his lover."Picasso's 1932 portraits of Walter have been described as the "undisputed highlight" of Picasso's "year of wonders".

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: In Nude in a Black Armchair, how is the Significance and legacy discussed?

Tate Modern exhibitions director Achim Borchardt-Hume emphasised that Picasso's relationships with his wife and his mistress had direct influence on his artwork. He said, "You can’t talk about Picasso without talking about his wife and his lover."Picasso's 1932 portraits of Walter have been described as the "undisputed highlight" of Picasso's "year of wonders".

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Focus on Nude in a Black Armchair and explain the Reception.

Former Museum of Modern Art curator William Rubin deemed it a "squishy sexual toy," and other critics have described a theme of fecundity being mutually displayed by both the female figure and the plant.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Explain the Reception of this artwork, Nude in a Black Armchair.

Former Museum of Modern Art curator William Rubin deemed it a "squishy sexual toy," and other critics have described a theme of fecundity being mutually displayed by both the female figure and the plant.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: How does Nude in a Black Armchair explain its Reception?

Former Museum of Modern Art curator William Rubin deemed it a "squishy sexual toy," and other critics have described a theme of fecundity being mutually displayed by both the female figure and the plant.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: In Nude in a Black Armchair, how is the Reception discussed?

Former Museum of Modern Art curator William Rubin deemed it a "squishy sexual toy," and other critics have described a theme of fecundity being mutually displayed by both the female figure and the plant.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Focus on Nude in a Black Armchair and explain the Auction.

On 9 November 1999, the painting was bought by Les Wexner, founder of Limited Brands and patron of the Wexner Center for the Arts, in Columbus, Ohio, for $45.1 million at Christie's auction in New York.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: Explain the Auction of this artwork, Nude in a Black Armchair.

On 9 November 1999, the painting was bought by Les Wexner, founder of Limited Brands and patron of the Wexner Center for the Arts, in Columbus, Ohio, for $45.1 million at Christie's auction in New York.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: How does Nude in a Black Armchair explain its Auction?

On 9 November 1999, the painting was bought by Les Wexner, founder of Limited Brands and patron of the Wexner Center for the Arts, in Columbus, Ohio, for $45.1 million at Christie's auction in New York.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Nude in a Black Armchair

Prompt: In Nude in a Black Armchair, how is the Auction discussed?

On 9 November 1999, the painting was bought by Les Wexner, founder of Limited Brands and patron of the Wexner Center for the Arts, in Columbus, Ohio, for $45.1 million at Christie's auction in New York.

Category:1932 paintings
Henri Matisse
Category:Portraits of women
Les Wexner
John Richardson (art historian)
Christie's
Galeries Lafayette
Category:20th-century portraits
Bath & Body Works, Inc.
Wexner Center for the Arts
Olga Khokhlova
Marie-Thérèse Walter
Category:Nude art
Category:Portraits by Pablo Picasso
Oil painting
oil on canvas
Boisgeloup
John Richardson
Pablo Picasso
Château de Boisgeloup
Limited Brands
Category:Paintings in Columbus, Ohio
William Rubin


Adoration of the Kings (Bruegel)

Prompt: Focus on Adoration of the Kings (Bruegel) and explain the abstract.

The Adoration of the Kings is an oil-on-panel painting of the Adoration of the Magi by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1564, and now in the National Gallery, London.It is one of very few paintings by Pieter Bruegel the Elder in the portrait format, rather than his usual landscape format.  Two other paintings of the Adoration by Brueghel survive: an earlier The Adoration of the Kings in tempera on canvas, dated to c.1556 (Royal Museums of Fine Arts of Belgium, Brussels); and another oil on panel painting, Adoration of the Magi in a Winter Landscape, dated to 1563 or 1567 (Oskar Reinhart Collection 'Am Römerholz', Winterthur).

Category:Paintings in the National Gallery, London

Category:Paintings of the Adoration of the Magi

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder


Adoration of the Kings (Bruegel)

Prompt: Explain the abstract of this artwork, Adoration of the Kings (Bruegel).

The Adoration of the Kings is an oil-on-panel painting of the Adoration of the Magi by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1564, and now in the National Gallery, London.It is one of very few paintings by Pieter Bruegel the Elder in the portrait format, rather than his usual landscape format.  Two other paintings of the Adoration by Brueghel survive: an earlier The Adoration of the Kings in tempera on canvas, dated to c.1556 (Royal Museums of Fine Arts of Belgium, Brussels); and another oil on panel painting, Adoration of the Magi in a Winter Landscape, dated to 1563 or 1567 (Oskar Reinhart Collection 'Am Römerholz', Winterthur).

Category:Paintings in the National Gallery, London

Category:Paintings of the Adoration of the Magi

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder


Adoration of the Kings (Bruegel)

Prompt: How does Adoration of the Kings (Bruegel) explain its abstract?

The Adoration of the Kings is an oil-on-panel painting of the Adoration of the Magi by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1564, and now in the National Gallery, London.It is one of very few paintings by Pieter Bruegel the Elder in the portrait format, rather than his usual landscape format.  Two other paintings of the Adoration by Brueghel survive: an earlier The Adoration of the Kings in tempera on canvas, dated to c.1556 (Royal Museums of Fine Arts of Belgium, Brussels); and another oil on panel painting, Adoration of the Magi in a Winter Landscape, dated to 1563 or 1567 (Oskar Reinhart Collection 'Am Römerholz', Winterthur).

Category:Paintings in the National Gallery, London

Category:Paintings of the Adoration of the Magi

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder


Adoration of the Kings (Bruegel)

Prompt: In Adoration of the Kings (Bruegel), how is the abstract discussed?

The Adoration of the Kings is an oil-on-panel painting of the Adoration of the Magi by the Netherlandish Renaissance artist Pieter Bruegel the Elder, painted in 1564, and now in the National Gallery, London.It is one of very few paintings by Pieter Bruegel the Elder in the portrait format, rather than his usual landscape format.  Two other paintings of the Adoration by Brueghel survive: an earlier The Adoration of the Kings in tempera on canvas, dated to c.1556 (Royal Museums of Fine Arts of Belgium, Brussels); and another oil on panel painting, Adoration of the Magi in a Winter Landscape, dated to 1563 or 1567 (Oskar Reinhart Collection 'Am Römerholz', Winterthur).

Category:Paintings in the National Gallery, London

Category:Paintings of the Adoration of the Magi

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder


Adoration of the Kings (Bruegel)

Prompt: Focus on Adoration of the Kings (Bruegel) and explain the Description.

In the chronological sequence of Bruegel's work, this painting of 1564 marks an important departure as the first to be composed almost exclusively of large figures. The grouping of people, an idea taken from Italian mannerist painters like Parmigianino, permits Bruegel to concentrate on differences between individual faces, giving each face a quite distinct, and sometimes grotesque, expression, quite different to the usual Catholic religious images.This emphasis on the uniqueness of each figure, and Bruegel's lack of interest in depicting ideal beauty in the Italian manner, makes it clear that although borrowing an Italian compositional scheme, Bruegel is putting it to quite a different use. In this treatment, the painter's first purpose is to record the range and intensity of individual reactions to the sacred event.The work depicts the Adoration of the Magi, with the three Magi presenting their gifts to the Christ Child: the elderly Caspar kneeling, the middle aged Melchior bowing to the left, and the white-robed Balthazar standing to the right, all dressed richly but somewhat disheveled from their long journey. The gold detailing on Caspar's robe depicts a star, a centaur in the form of Sagittarius, a man holding a snake, and a slug. These symbols are all related to medieval imagery. The three Magi represent the three ages of man - old, middle aged and young - and the three continents known at that time - Europe, Asia and Africa.  Caspar, the white-haired old man representing Europe, is wearing a green robe with pink jacket trimmed with gold and ermine, and presenting a trefoil gold vessel with its three-lobed lid removed to display gold coins within. Middle-aged Melchior, representing Asia, has a red jacket over his blue robe: his elaborately-chased gold vessel containing frankincense is still lidded.  Balthazar, traditionally a black man representing Africa, stands to the right in a long white robe, pointed red boots, and with a makeshift radiate crown tied around his head.  His gift of myrrh is contained in a gold vessel fashioned into a sailing ship with a long gold chain, built around a spiraling green nautilus shell.At the centre of the scene, the baby Jesus is naked but loosely shrouded with a white cloth, resting on the lap of his mother the Virgin Mary, sitting in her characteristic blue cloak before a dilapidated stable.  A donkey is eating straw in the shadows within.  Behind Mary stands the elderly Joseph, listening to one of three men standing to his left (perhaps the shepherds: the face and headdress of one speaking to Joseph resembles the donkey; the one to the far right one is wearing a pair of spectacles).  Unusually, the scene also includes a crowd of soldiers, perhaps echoing the political situation in the Netherlands.  To Joseph's right stands two menacing soldiers, a helmeted one carrying a Lucerne hammer and wearing chainmail covered by a leather jerkin, and the other holding a crossbow with a quarrel through his hat.  Behind them are a bewildered crowd of on-lookers, many with metal helmets, with an array of bladed polearms.  The presence of the soldiers, the cross-shaped bow, and the child's shroud, may foreshadow the Crucifixion.It is a cold winter's day, as demonstrated by the warm clothing worn by the subjects, such as the fur lining on Mary's sleeves.  Many of the figures are slightly elongated, their faces caricatured or even grotesque, though Mary is shown naturally and not idealised. Bruegel treats his theme quite differently from depictions of the biblical scene by other painters.The picture gives a claustrophobic impression with the figures crowded together and the viewer looking down from a slightly elevated position. The colours are bold, although the blue sky has faded to a dull grey.  The technique is masterly, although the work was made very quickly, leaving an irregular ground with brushstrokes of the priming that remain visible through the paint layer, and visible underdrawing.  The design principally draws inspiration from a c.1485-1500 Adoration of the Magi triptych by Hieronymus Bosch (Prado, Madrid), but also in parts from the c.1510-1515 The Adoration of the Kings by Jan Gossaert (National Gallery, London).  Similar figures appear in Brueghel's Adoration of the Magi in a Winter Landscape (Oskar Reinhart Collection, Winterthur).The work is painted on an oak panel, signed and dated to the lower right: "BRVEGEL M.D.LXIIII". It was made in Brussels, in the tense period of the Spanish Netherlands shortly before the outbreak of the Eighty Years' War. It was probably made as an altarpiece, perhaps for Nicholas Jongelink.  It was bought by Archduke Ernest of Austria in 1594, and entered the Hapsburg Imperial Collection.  It was sold to a private collector, and was bought by the National Gallery in 1920, with funding provided by the Art Fund and the shipbroker Arthur Serena.

Category:Paintings in the National Gallery, London

Category:Paintings of the Adoration of the Magi

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Oskar Reinhart Collection 'Am Römerholz'


Adoration of the Kings (Bruegel)

Prompt: Explain the Description of this artwork, Adoration of the Kings (Bruegel).

In the chronological sequence of Bruegel's work, this painting of 1564 marks an important departure as the first to be composed almost exclusively of large figures. The grouping of people, an idea taken from Italian mannerist painters like Parmigianino, permits Bruegel to concentrate on differences between individual faces, giving each face a quite distinct, and sometimes grotesque, expression, quite different to the usual Catholic religious images.This emphasis on the uniqueness of each figure, and Bruegel's lack of interest in depicting ideal beauty in the Italian manner, makes it clear that although borrowing an Italian compositional scheme, Bruegel is putting it to quite a different use. In this treatment, the painter's first purpose is to record the range and intensity of individual reactions to the sacred event.The work depicts the Adoration of the Magi, with the three Magi presenting their gifts to the Christ Child: the elderly Caspar kneeling, the middle aged Melchior bowing to the left, and the white-robed Balthazar standing to the right, all dressed richly but somewhat disheveled from their long journey. The gold detailing on Caspar's robe depicts a star, a centaur in the form of Sagittarius, a man holding a snake, and a slug. These symbols are all related to medieval imagery. The three Magi represent the three ages of man - old, middle aged and young - and the three continents known at that time - Europe, Asia and Africa.  Caspar, the white-haired old man representing Europe, is wearing a green robe with pink jacket trimmed with gold and ermine, and presenting a trefoil gold vessel with its three-lobed lid removed to display gold coins within. Middle-aged Melchior, representing Asia, has a red jacket over his blue robe: his elaborately-chased gold vessel containing frankincense is still lidded.  Balthazar, traditionally a black man representing Africa, stands to the right in a long white robe, pointed red boots, and with a makeshift radiate crown tied around his head.  His gift of myrrh is contained in a gold vessel fashioned into a sailing ship with a long gold chain, built around a spiraling green nautilus shell.At the centre of the scene, the baby Jesus is naked but loosely shrouded with a white cloth, resting on the lap of his mother the Virgin Mary, sitting in her characteristic blue cloak before a dilapidated stable.  A donkey is eating straw in the shadows within.  Behind Mary stands the elderly Joseph, listening to one of three men standing to his left (perhaps the shepherds: the face and headdress of one speaking to Joseph resembles the donkey; the one to the far right one is wearing a pair of spectacles).  Unusually, the scene also includes a crowd of soldiers, perhaps echoing the political situation in the Netherlands.  To Joseph's right stands two menacing soldiers, a helmeted one carrying a Lucerne hammer and wearing chainmail covered by a leather jerkin, and the other holding a crossbow with a quarrel through his hat.  Behind them are a bewildered crowd of on-lookers, many with metal helmets, with an array of bladed polearms.  The presence of the soldiers, the cross-shaped bow, and the child's shroud, may foreshadow the Crucifixion.It is a cold winter's day, as demonstrated by the warm clothing worn by the subjects, such as the fur lining on Mary's sleeves.  Many of the figures are slightly elongated, their faces caricatured or even grotesque, though Mary is shown naturally and not idealised. Bruegel treats his theme quite differently from depictions of the biblical scene by other painters.The picture gives a claustrophobic impression with the figures crowded together and the viewer looking down from a slightly elevated position. The colours are bold, although the blue sky has faded to a dull grey.  The technique is masterly, although the work was made very quickly, leaving an irregular ground with brushstrokes of the priming that remain visible through the paint layer, and visible underdrawing.  The design principally draws inspiration from a c.1485-1500 Adoration of the Magi triptych by Hieronymus Bosch (Prado, Madrid), but also in parts from the c.1510-1515 The Adoration of the Kings by Jan Gossaert (National Gallery, London).  Similar figures appear in Brueghel's Adoration of the Magi in a Winter Landscape (Oskar Reinhart Collection, Winterthur).The work is painted on an oak panel, signed and dated to the lower right: "BRVEGEL M.D.LXIIII". It was made in Brussels, in the tense period of the Spanish Netherlands shortly before the outbreak of the Eighty Years' War. It was probably made as an altarpiece, perhaps for Nicholas Jongelink.  It was bought by Archduke Ernest of Austria in 1594, and entered the Hapsburg Imperial Collection.  It was sold to a private collector, and was bought by the National Gallery in 1920, with funding provided by the Art Fund and the shipbroker Arthur Serena.

Category:Paintings in the National Gallery, London

Category:Paintings of the Adoration of the Magi

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Oskar Reinhart Collection 'Am Römerholz'


Adoration of the Kings (Bruegel)

Prompt: How does Adoration of the Kings (Bruegel) explain its Description?

In the chronological sequence of Bruegel's work, this painting of 1564 marks an important departure as the first to be composed almost exclusively of large figures. The grouping of people, an idea taken from Italian mannerist painters like Parmigianino, permits Bruegel to concentrate on differences between individual faces, giving each face a quite distinct, and sometimes grotesque, expression, quite different to the usual Catholic religious images.This emphasis on the uniqueness of each figure, and Bruegel's lack of interest in depicting ideal beauty in the Italian manner, makes it clear that although borrowing an Italian compositional scheme, Bruegel is putting it to quite a different use. In this treatment, the painter's first purpose is to record the range and intensity of individual reactions to the sacred event.The work depicts the Adoration of the Magi, with the three Magi presenting their gifts to the Christ Child: the elderly Caspar kneeling, the middle aged Melchior bowing to the left, and the white-robed Balthazar standing to the right, all dressed richly but somewhat disheveled from their long journey. The gold detailing on Caspar's robe depicts a star, a centaur in the form of Sagittarius, a man holding a snake, and a slug. These symbols are all related to medieval imagery. The three Magi represent the three ages of man - old, middle aged and young - and the three continents known at that time - Europe, Asia and Africa.  Caspar, the white-haired old man representing Europe, is wearing a green robe with pink jacket trimmed with gold and ermine, and presenting a trefoil gold vessel with its three-lobed lid removed to display gold coins within. Middle-aged Melchior, representing Asia, has a red jacket over his blue robe: his elaborately-chased gold vessel containing frankincense is still lidded.  Balthazar, traditionally a black man representing Africa, stands to the right in a long white robe, pointed red boots, and with a makeshift radiate crown tied around his head.  His gift of myrrh is contained in a gold vessel fashioned into a sailing ship with a long gold chain, built around a spiraling green nautilus shell.At the centre of the scene, the baby Jesus is naked but loosely shrouded with a white cloth, resting on the lap of his mother the Virgin Mary, sitting in her characteristic blue cloak before a dilapidated stable.  A donkey is eating straw in the shadows within.  Behind Mary stands the elderly Joseph, listening to one of three men standing to his left (perhaps the shepherds: the face and headdress of one speaking to Joseph resembles the donkey; the one to the far right one is wearing a pair of spectacles).  Unusually, the scene also includes a crowd of soldiers, perhaps echoing the political situation in the Netherlands.  To Joseph's right stands two menacing soldiers, a helmeted one carrying a Lucerne hammer and wearing chainmail covered by a leather jerkin, and the other holding a crossbow with a quarrel through his hat.  Behind them are a bewildered crowd of on-lookers, many with metal helmets, with an array of bladed polearms.  The presence of the soldiers, the cross-shaped bow, and the child's shroud, may foreshadow the Crucifixion.It is a cold winter's day, as demonstrated by the warm clothing worn by the subjects, such as the fur lining on Mary's sleeves.  Many of the figures are slightly elongated, their faces caricatured or even grotesque, though Mary is shown naturally and not idealised. Bruegel treats his theme quite differently from depictions of the biblical scene by other painters.The picture gives a claustrophobic impression with the figures crowded together and the viewer looking down from a slightly elevated position. The colours are bold, although the blue sky has faded to a dull grey.  The technique is masterly, although the work was made very quickly, leaving an irregular ground with brushstrokes of the priming that remain visible through the paint layer, and visible underdrawing.  The design principally draws inspiration from a c.1485-1500 Adoration of the Magi triptych by Hieronymus Bosch (Prado, Madrid), but also in parts from the c.1510-1515 The Adoration of the Kings by Jan Gossaert (National Gallery, London).  Similar figures appear in Brueghel's Adoration of the Magi in a Winter Landscape (Oskar Reinhart Collection, Winterthur).The work is painted on an oak panel, signed and dated to the lower right: "BRVEGEL M.D.LXIIII". It was made in Brussels, in the tense period of the Spanish Netherlands shortly before the outbreak of the Eighty Years' War. It was probably made as an altarpiece, perhaps for Nicholas Jongelink.  It was bought by Archduke Ernest of Austria in 1594, and entered the Hapsburg Imperial Collection.  It was sold to a private collector, and was bought by the National Gallery in 1920, with funding provided by the Art Fund and the shipbroker Arthur Serena.

Category:Paintings in the National Gallery, London

Category:Paintings of the Adoration of the Magi

Category:Paintings by Pieter Bruegel the Elder

List of paintings by Pieter Bruegel the Elder

Oskar Reinhart Collection 'Am Römerholz'