Dunham Massey Hall sundial

Prompt: In Dunham Massey Hall sundial, how is the abstract discussed?

The Dunham Massey Hall sundial is a lead sculpture depicting a kneeling Black man holding a sundial on his head. It was created during the early 18th century, and until 2020 stood outside Dunham Massey Hall, a stately home in Cheshire, England.Its subject matter attracted criticism and in 2020 the National Trust removed it amid the global wave of statue removals connected with the 2020 Black Lives Matter protests in the wake of the murder of George Floyd. It is currently held in storage.

Category:Relocated buildings and structures in the United Kingdom

List of monuments and memorials removed during the George Floyd protests

Category:Grade II listed buildings in the Metropolitan Borough of Trafford

Category:Monuments and memorials removed during the George Floyd protests


Dunham Massey Hall sundial

Prompt: Focus on Dunham Massey Hall sundial and explain the Description.

The sundial sculpture is a black, polychromed cast-lead statue. It depicts a life-size kneeling figure of an African man wearing a feathered loincloth and holding a stone and brass sundial on his head. The figure's eyes are painted white with blue pupils, and the loincloth is painted blue and green. It dates from the 18th century and has been attributed to Andries Carpentière (1677–1737). It is thought that it was cast after a model by Jan van Nost (c.1660–1729) which was installed in 1701 in the Privy Garden of Hampton Court Palace. It was probably commissioned by George Booth, 2nd Earl of Warrington (1675–1758). The figure has been categorised as an example of a tradition in western art history called the "blackamoor", a personification of the continent of Africa, and as an anonymous ‘kneeling slave’. The blackamoor caricatures appeared in a wide range of arts including sculpture, painting, architectural decoration, ceramics, silverware and furniture, and generally depicted a generic black person in exoticised costume and posted in a servile position, holding an object. Close to the sculpture was a plaque containing the words: “This sundial is in the style of one commissioned by King William III. It represents Africa, one of four continents known at the time. The figure depicts a Moor, not a slave, and he has knelt here since before 1750.”

Category:Relocated buildings and structures in the United Kingdom

List of monuments and memorials removed during the George Floyd protests

Category:Grade II listed buildings in the Metropolitan Borough of Trafford

Category:Monuments and memorials removed during the George Floyd protests


Dunham Massey Hall sundial

Prompt: Explain the Description of this artwork, Dunham Massey Hall sundial.

The sundial sculpture is a black, polychromed cast-lead statue. It depicts a life-size kneeling figure of an African man wearing a feathered loincloth and holding a stone and brass sundial on his head. The figure's eyes are painted white with blue pupils, and the loincloth is painted blue and green. It dates from the 18th century and has been attributed to Andries Carpentière (1677–1737). It is thought that it was cast after a model by Jan van Nost (c.1660–1729) which was installed in 1701 in the Privy Garden of Hampton Court Palace. It was probably commissioned by George Booth, 2nd Earl of Warrington (1675–1758). The figure has been categorised as an example of a tradition in western art history called the "blackamoor", a personification of the continent of Africa, and as an anonymous ‘kneeling slave’. The blackamoor caricatures appeared in a wide range of arts including sculpture, painting, architectural decoration, ceramics, silverware and furniture, and generally depicted a generic black person in exoticised costume and posted in a servile position, holding an object. Close to the sculpture was a plaque containing the words: “This sundial is in the style of one commissioned by King William III. It represents Africa, one of four continents known at the time. The figure depicts a Moor, not a slave, and he has knelt here since before 1750.”

Category:Relocated buildings and structures in the United Kingdom

List of monuments and memorials removed during the George Floyd protests

Category:Grade II listed buildings in the Metropolitan Borough of Trafford

Category:Monuments and memorials removed during the George Floyd protests


Dunham Massey Hall sundial

Prompt: How does Dunham Massey Hall sundial explain its Description?

The sundial sculpture is a black, polychromed cast-lead statue. It depicts a life-size kneeling figure of an African man wearing a feathered loincloth and holding a stone and brass sundial on his head. The figure's eyes are painted white with blue pupils, and the loincloth is painted blue and green. It dates from the 18th century and has been attributed to Andries Carpentière (1677–1737). It is thought that it was cast after a model by Jan van Nost (c.1660–1729) which was installed in 1701 in the Privy Garden of Hampton Court Palace. It was probably commissioned by George Booth, 2nd Earl of Warrington (1675–1758). The figure has been categorised as an example of a tradition in western art history called the "blackamoor", a personification of the continent of Africa, and as an anonymous ‘kneeling slave’. The blackamoor caricatures appeared in a wide range of arts including sculpture, painting, architectural decoration, ceramics, silverware and furniture, and generally depicted a generic black person in exoticised costume and posted in a servile position, holding an object. Close to the sculpture was a plaque containing the words: “This sundial is in the style of one commissioned by King William III. It represents Africa, one of four continents known at the time. The figure depicts a Moor, not a slave, and he has knelt here since before 1750.”

Category:Relocated buildings and structures in the United Kingdom

List of monuments and memorials removed during the George Floyd protests

Category:Grade II listed buildings in the Metropolitan Borough of Trafford

Category:Monuments and memorials removed during the George Floyd protests


Dunham Massey Hall sundial

Prompt: In Dunham Massey Hall sundial, how is the Description discussed?

The sundial sculpture is a black, polychromed cast-lead statue. It depicts a life-size kneeling figure of an African man wearing a feathered loincloth and holding a stone and brass sundial on his head. The figure's eyes are painted white with blue pupils, and the loincloth is painted blue and green. It dates from the 18th century and has been attributed to Andries Carpentière (1677–1737). It is thought that it was cast after a model by Jan van Nost (c.1660–1729) which was installed in 1701 in the Privy Garden of Hampton Court Palace. It was probably commissioned by George Booth, 2nd Earl of Warrington (1675–1758). The figure has been categorised as an example of a tradition in western art history called the "blackamoor", a personification of the continent of Africa, and as an anonymous ‘kneeling slave’. The blackamoor caricatures appeared in a wide range of arts including sculpture, painting, architectural decoration, ceramics, silverware and furniture, and generally depicted a generic black person in exoticised costume and posted in a servile position, holding an object. Close to the sculpture was a plaque containing the words: “This sundial is in the style of one commissioned by King William III. It represents Africa, one of four continents known at the time. The figure depicts a Moor, not a slave, and he has knelt here since before 1750.”

Category:Relocated buildings and structures in the United Kingdom

List of monuments and memorials removed during the George Floyd protests

Category:Grade II listed buildings in the Metropolitan Borough of Trafford

Category:Monuments and memorials removed during the George Floyd protests


Dunham Massey Hall sundial

Prompt: Focus on Dunham Massey Hall sundial and explain the Controversy and removal.

In June 2020, the National Trust announced that it was "reviewing" the statue amid the global wave of statue removals during the Black Lives Matter protests. Shortly afterwards, the Trust took the decision to remove the statue from its prominent location outside Dunham Massey Hall, stating that the sculpture "caused upset and distress because of the way it depicts a black person and because of its prominence at the front of the house". The National Trust also stated that it did not plan to "censor or deny" colonial history, but intended to devise a new way of displaying it "in a way that fully acknowledges the appalling histories of slavery and the slave trade". Historic England noted that the National Trust had not requested listed building consent prior to the removal of the Grade II-listed sundial.

Category:Relocated buildings and structures in the United Kingdom

List of monuments and memorials removed during the George Floyd protests

Category:Grade II listed buildings in the Metropolitan Borough of Trafford

Category:Monuments and memorials removed during the George Floyd protests


Dunham Massey Hall sundial

Prompt: Explain the Controversy and removal of this artwork, Dunham Massey Hall sundial.

In June 2020, the National Trust announced that it was "reviewing" the statue amid the global wave of statue removals during the Black Lives Matter protests. Shortly afterwards, the Trust took the decision to remove the statue from its prominent location outside Dunham Massey Hall, stating that the sculpture "caused upset and distress because of the way it depicts a black person and because of its prominence at the front of the house". The National Trust also stated that it did not plan to "censor or deny" colonial history, but intended to devise a new way of displaying it "in a way that fully acknowledges the appalling histories of slavery and the slave trade". Historic England noted that the National Trust had not requested listed building consent prior to the removal of the Grade II-listed sundial.

Category:Relocated buildings and structures in the United Kingdom

List of monuments and memorials removed during the George Floyd protests

Category:Grade II listed buildings in the Metropolitan Borough of Trafford

Category:Monuments and memorials removed during the George Floyd protests


Dunham Massey Hall sundial

Prompt: How does Dunham Massey Hall sundial explain its Controversy and removal?

In June 2020, the National Trust announced that it was "reviewing" the statue amid the global wave of statue removals during the Black Lives Matter protests. Shortly afterwards, the Trust took the decision to remove the statue from its prominent location outside Dunham Massey Hall, stating that the sculpture "caused upset and distress because of the way it depicts a black person and because of its prominence at the front of the house". The National Trust also stated that it did not plan to "censor or deny" colonial history, but intended to devise a new way of displaying it "in a way that fully acknowledges the appalling histories of slavery and the slave trade". Historic England noted that the National Trust had not requested listed building consent prior to the removal of the Grade II-listed sundial.

Category:Relocated buildings and structures in the United Kingdom

List of monuments and memorials removed during the George Floyd protests

Category:Grade II listed buildings in the Metropolitan Borough of Trafford

Category:Monuments and memorials removed during the George Floyd protests


Dunham Massey Hall sundial

Prompt: In Dunham Massey Hall sundial, how is the Controversy and removal discussed?

In June 2020, the National Trust announced that it was "reviewing" the statue amid the global wave of statue removals during the Black Lives Matter protests. Shortly afterwards, the Trust took the decision to remove the statue from its prominent location outside Dunham Massey Hall, stating that the sculpture "caused upset and distress because of the way it depicts a black person and because of its prominence at the front of the house". The National Trust also stated that it did not plan to "censor or deny" colonial history, but intended to devise a new way of displaying it "in a way that fully acknowledges the appalling histories of slavery and the slave trade". Historic England noted that the National Trust had not requested listed building consent prior to the removal of the Grade II-listed sundial.

Category:Relocated buildings and structures in the United Kingdom

List of monuments and memorials removed during the George Floyd protests

Category:Grade II listed buildings in the Metropolitan Borough of Trafford

Category:Monuments and memorials removed during the George Floyd protests


The Resurrection of Lazarus

Prompt: Focus on The Resurrection of Lazarus and explain the abstract.

The Resurrection of Lazarus is a painting by Henry Ossawa Tanner entered into the Paris Salon in 1897 and winning a third place medal. During his lifetime, this was the painting for which he was most known, his "masterwork". Since his death in 1937, secular tastes have pushed The Banjo Lesson to the top place in public esteem. The work was purchased by the French government (a rare honor for someone not a French citizen) for display in its Luxemburg museum. Today the painting is held by the Musée d'Orsay.During Tanner's lifetime, the painting was never exhibited in the United States, having been bought at its first exhibition in France. It was finally exhibited in the U.S. in 2012 as part of the show Henry Ossawa Tanner: Modern Spirit, organized by the Pennsylvania Academy of Fine Arts.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: Explain the abstract of this artwork, The Resurrection of Lazarus.

The Resurrection of Lazarus is a painting by Henry Ossawa Tanner entered into the Paris Salon in 1897 and winning a third place medal. During his lifetime, this was the painting for which he was most known, his "masterwork". Since his death in 1937, secular tastes have pushed The Banjo Lesson to the top place in public esteem. The work was purchased by the French government (a rare honor for someone not a French citizen) for display in its Luxemburg museum. Today the painting is held by the Musée d'Orsay.During Tanner's lifetime, the painting was never exhibited in the United States, having been bought at its first exhibition in France. It was finally exhibited in the U.S. in 2012 as part of the show Henry Ossawa Tanner: Modern Spirit, organized by the Pennsylvania Academy of Fine Arts.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: How does The Resurrection of Lazarus explain its abstract?

The Resurrection of Lazarus is a painting by Henry Ossawa Tanner entered into the Paris Salon in 1897 and winning a third place medal. During his lifetime, this was the painting for which he was most known, his "masterwork". Since his death in 1937, secular tastes have pushed The Banjo Lesson to the top place in public esteem. The work was purchased by the French government (a rare honor for someone not a French citizen) for display in its Luxemburg museum. Today the painting is held by the Musée d'Orsay.During Tanner's lifetime, the painting was never exhibited in the United States, having been bought at its first exhibition in France. It was finally exhibited in the U.S. in 2012 as part of the show Henry Ossawa Tanner: Modern Spirit, organized by the Pennsylvania Academy of Fine Arts.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: In The Resurrection of Lazarus, how is the abstract discussed?

The Resurrection of Lazarus is a painting by Henry Ossawa Tanner entered into the Paris Salon in 1897 and winning a third place medal. During his lifetime, this was the painting for which he was most known, his "masterwork". Since his death in 1937, secular tastes have pushed The Banjo Lesson to the top place in public esteem. The work was purchased by the French government (a rare honor for someone not a French citizen) for display in its Luxemburg museum. Today the painting is held by the Musée d'Orsay.During Tanner's lifetime, the painting was never exhibited in the United States, having been bought at its first exhibition in France. It was finally exhibited in the U.S. in 2012 as part of the show Henry Ossawa Tanner: Modern Spirit, organized by the Pennsylvania Academy of Fine Arts.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: Focus on The Resurrection of Lazarus and explain the Biblical narrative.

The painting illustrates John 11 from the Bible, in which Christ raises his friend Lazarus from death. It catches the moment of resurrection when Lazarus opens his eyes and the reaction of the crowd which came to see. Women thought to be Mary and Martha (sisters to Lazarus) kneel to either side of Jesus, Mary with her head in her hands, Martha looking up at him.The scene is an adaption of the biblical text; in that work, the people did not enter the tomb but Christ told Lazarus, "Come forth."Tanner's crowd of Jewish people run "from a range of locales across North Africa and the Near East." They are not a racially homogeneous mixture and represent a variety of Jewish peoples.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: Explain the Biblical narrative of this artwork, The Resurrection of Lazarus.

The painting illustrates John 11 from the Bible, in which Christ raises his friend Lazarus from death. It catches the moment of resurrection when Lazarus opens his eyes and the reaction of the crowd which came to see. Women thought to be Mary and Martha (sisters to Lazarus) kneel to either side of Jesus, Mary with her head in her hands, Martha looking up at him.The scene is an adaption of the biblical text; in that work, the people did not enter the tomb but Christ told Lazarus, "Come forth."Tanner's crowd of Jewish people run "from a range of locales across North Africa and the Near East." They are not a racially homogeneous mixture and represent a variety of Jewish peoples.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: How does The Resurrection of Lazarus explain its Biblical narrative?

The painting illustrates John 11 from the Bible, in which Christ raises his friend Lazarus from death. It catches the moment of resurrection when Lazarus opens his eyes and the reaction of the crowd which came to see. Women thought to be Mary and Martha (sisters to Lazarus) kneel to either side of Jesus, Mary with her head in her hands, Martha looking up at him.The scene is an adaption of the biblical text; in that work, the people did not enter the tomb but Christ told Lazarus, "Come forth."Tanner's crowd of Jewish people run "from a range of locales across North Africa and the Near East." They are not a racially homogeneous mixture and represent a variety of Jewish peoples.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: In The Resurrection of Lazarus, how is the Biblical narrative discussed?

The painting illustrates John 11 from the Bible, in which Christ raises his friend Lazarus from death. It catches the moment of resurrection when Lazarus opens his eyes and the reaction of the crowd which came to see. Women thought to be Mary and Martha (sisters to Lazarus) kneel to either side of Jesus, Mary with her head in her hands, Martha looking up at him.The scene is an adaption of the biblical text; in that work, the people did not enter the tomb but Christ told Lazarus, "Come forth."Tanner's crowd of Jewish people run "from a range of locales across North Africa and the Near East." They are not a racially homogeneous mixture and represent a variety of Jewish peoples.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: Focus on The Resurrection of Lazarus and explain the Effects on Tanner's career.

The purchase of the painting by the French government placed Tanner into a small group of artists who did not have to submit their paintings to an admissions panel for entry into Paris Salons. Beyond that, Tanner's work now held "authoritative cache and the zeal of official approbation," and it was considered that anything he chose to paint would have an instant market.The painting also gained Tanner the attention of  American businessman Rodman Wanamaker who saw it in Paris and was impressed by Tanner's religious sentiments and attempts at Orientalism. He wanted Tanner to have a "firsthand look at the setting of the biblical stories he painted" and paid Tanner's travel expenses in the spring of 1897 to the Near East (Palestine and Egypt).Tanner would make multiple trips to Israel/Palestine, Egypt, Algeria and Morocco in his lifetime, creating numerous paintings of these trips. He would incorporate details noticed on these trips in his paintings. One example is the dress style of Mary in The Annunciation, which is remarked on as a particular dress style in Israel.Works coming out of this trip include The Jew's Wailing Place (also final painting), Lions in the Desert, Lion drinking, A Water Carrier, and A Mosque in Cairo.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: Explain the Effects on Tanner's career of this artwork, The Resurrection of Lazarus.

The purchase of the painting by the French government placed Tanner into a small group of artists who did not have to submit their paintings to an admissions panel for entry into Paris Salons. Beyond that, Tanner's work now held "authoritative cache and the zeal of official approbation," and it was considered that anything he chose to paint would have an instant market.The painting also gained Tanner the attention of  American businessman Rodman Wanamaker who saw it in Paris and was impressed by Tanner's religious sentiments and attempts at Orientalism. He wanted Tanner to have a "firsthand look at the setting of the biblical stories he painted" and paid Tanner's travel expenses in the spring of 1897 to the Near East (Palestine and Egypt).Tanner would make multiple trips to Israel/Palestine, Egypt, Algeria and Morocco in his lifetime, creating numerous paintings of these trips. He would incorporate details noticed on these trips in his paintings. One example is the dress style of Mary in The Annunciation, which is remarked on as a particular dress style in Israel.Works coming out of this trip include The Jew's Wailing Place (also final painting), Lions in the Desert, Lion drinking, A Water Carrier, and A Mosque in Cairo.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: How does The Resurrection of Lazarus explain its Effects on Tanner's career?

The purchase of the painting by the French government placed Tanner into a small group of artists who did not have to submit their paintings to an admissions panel for entry into Paris Salons. Beyond that, Tanner's work now held "authoritative cache and the zeal of official approbation," and it was considered that anything he chose to paint would have an instant market.The painting also gained Tanner the attention of  American businessman Rodman Wanamaker who saw it in Paris and was impressed by Tanner's religious sentiments and attempts at Orientalism. He wanted Tanner to have a "firsthand look at the setting of the biblical stories he painted" and paid Tanner's travel expenses in the spring of 1897 to the Near East (Palestine and Egypt).Tanner would make multiple trips to Israel/Palestine, Egypt, Algeria and Morocco in his lifetime, creating numerous paintings of these trips. He would incorporate details noticed on these trips in his paintings. One example is the dress style of Mary in The Annunciation, which is remarked on as a particular dress style in Israel.Works coming out of this trip include The Jew's Wailing Place (also final painting), Lions in the Desert, Lion drinking, A Water Carrier, and A Mosque in Cairo.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


The Resurrection of Lazarus

Prompt: In The Resurrection of Lazarus, how is the Effects on Tanner's career discussed?

The purchase of the painting by the French government placed Tanner into a small group of artists who did not have to submit their paintings to an admissions panel for entry into Paris Salons. Beyond that, Tanner's work now held "authoritative cache and the zeal of official approbation," and it was considered that anything he chose to paint would have an instant market.The painting also gained Tanner the attention of  American businessman Rodman Wanamaker who saw it in Paris and was impressed by Tanner's religious sentiments and attempts at Orientalism. He wanted Tanner to have a "firsthand look at the setting of the biblical stories he painted" and paid Tanner's travel expenses in the spring of 1897 to the Near East (Palestine and Egypt).Tanner would make multiple trips to Israel/Palestine, Egypt, Algeria and Morocco in his lifetime, creating numerous paintings of these trips. He would incorporate details noticed on these trips in his paintings. One example is the dress style of Mary in The Annunciation, which is remarked on as a particular dress style in Israel.Works coming out of this trip include The Jew's Wailing Place (also final painting), Lions in the Desert, Lion drinking, A Water Carrier, and A Mosque in Cairo.

:File:A Mosque in Cairo, by Henry Ossawa Tanner.jpg

:File:Henry Ossawa Tanner - Lion drinking (c.1897).jpg

List of paintings by Henry Ossawa Tanner

:File:Lions in the Desert by Henry Ossawa Tanner - Renwick Gallery - DSC08398.JPG

Category:Paintings of the Resurrection of Lazarus

:File:Henry Ossawa Tanner - The Wailing Wall - 84.234 - Rhode Island School of Design Museum.jpg

:File:Untitled (A Water Carrier), by Henry Ossawa Tanner.jpg

Category:Paintings by Henry Ossawa Tanner

:File:Wailing Wall, by Henry Ossawa Tanner.jpg


I AM THE BEST ARTIST Rene

Prompt: Focus on I AM THE BEST ARTIST Rene and explain the abstract.

Beginning in the late 1970s, and continuing into the 1990s in New York City, several prominently located murals of impressive size proclaimed  I AM THE BEST ARTIST  to all who walked or drove past them along the streets of SoHo. The murals were the creations of artist René Moncada, who lived in the neighborhood.René Moncada's I AM THE BEST ARTIST murals became icons not only of the neighborhood's art world associations but of the era in general, when art became a profitable commodity and SoHo became its Wall Street.The murals have been likened to effective advertising slogans and recognized as an early act of "art provocation". The murals placed René at the forefront of street artists of the era and helped transform the streets of the art district into an alternative exhibition venue.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Explain the abstract of this artwork, I AM THE BEST ARTIST Rene.

Beginning in the late 1970s, and continuing into the 1990s in New York City, several prominently located murals of impressive size proclaimed  I AM THE BEST ARTIST  to all who walked or drove past them along the streets of SoHo. The murals were the creations of artist René Moncada, who lived in the neighborhood.René Moncada's I AM THE BEST ARTIST murals became icons not only of the neighborhood's art world associations but of the era in general, when art became a profitable commodity and SoHo became its Wall Street.The murals have been likened to effective advertising slogans and recognized as an early act of "art provocation". The murals placed René at the forefront of street artists of the era and helped transform the streets of the art district into an alternative exhibition venue.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: How does I AM THE BEST ARTIST Rene explain its abstract?

Beginning in the late 1970s, and continuing into the 1990s in New York City, several prominently located murals of impressive size proclaimed  I AM THE BEST ARTIST  to all who walked or drove past them along the streets of SoHo. The murals were the creations of artist René Moncada, who lived in the neighborhood.René Moncada's I AM THE BEST ARTIST murals became icons not only of the neighborhood's art world associations but of the era in general, when art became a profitable commodity and SoHo became its Wall Street.The murals have been likened to effective advertising slogans and recognized as an early act of "art provocation". The murals placed René at the forefront of street artists of the era and helped transform the streets of the art district into an alternative exhibition venue.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: In I AM THE BEST ARTIST Rene, how is the abstract discussed?

Beginning in the late 1970s, and continuing into the 1990s in New York City, several prominently located murals of impressive size proclaimed  I AM THE BEST ARTIST  to all who walked or drove past them along the streets of SoHo. The murals were the creations of artist René Moncada, who lived in the neighborhood.René Moncada's I AM THE BEST ARTIST murals became icons not only of the neighborhood's art world associations but of the era in general, when art became a profitable commodity and SoHo became its Wall Street.The murals have been likened to effective advertising slogans and recognized as an early act of "art provocation". The murals placed René at the forefront of street artists of the era and helped transform the streets of the art district into an alternative exhibition venue.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Focus on I AM THE BEST ARTIST Rene and explain the Background.

If you have not seen that sign, you have nothing to do with art or you've never been to SoHo.René has described the murals as a thumb in the nose to the art community he helped pioneer but by which he later felt ignored.The artist — a very vocal opponent of censorship, hypocrisy and oppression — explains some of his activities as stemming from a desire to liberate not only the art world but also the world at large.It is attributes such as that, he has reflected in hindsight, which may qualify him as "the best artist", having nothing to do with artistic skills.René's ubiquitous declarations, spelled out in large, capital letters punctuated by his signature "René" written in a flowing font, were a topic of conversation and debate at the time, and provided a backdrop to photographs taken by a multitude of tourists, art students and advertising layouts in magazines worldwide.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Explain the Background of this artwork, I AM THE BEST ARTIST Rene.

If you have not seen that sign, you have nothing to do with art or you've never been to SoHo.René has described the murals as a thumb in the nose to the art community he helped pioneer but by which he later felt ignored.The artist — a very vocal opponent of censorship, hypocrisy and oppression — explains some of his activities as stemming from a desire to liberate not only the art world but also the world at large.It is attributes such as that, he has reflected in hindsight, which may qualify him as "the best artist", having nothing to do with artistic skills.René's ubiquitous declarations, spelled out in large, capital letters punctuated by his signature "René" written in a flowing font, were a topic of conversation and debate at the time, and provided a backdrop to photographs taken by a multitude of tourists, art students and advertising layouts in magazines worldwide.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: How does I AM THE BEST ARTIST Rene explain its Background?

If you have not seen that sign, you have nothing to do with art or you've never been to SoHo.René has described the murals as a thumb in the nose to the art community he helped pioneer but by which he later felt ignored.The artist — a very vocal opponent of censorship, hypocrisy and oppression — explains some of his activities as stemming from a desire to liberate not only the art world but also the world at large.It is attributes such as that, he has reflected in hindsight, which may qualify him as "the best artist", having nothing to do with artistic skills.René's ubiquitous declarations, spelled out in large, capital letters punctuated by his signature "René" written in a flowing font, were a topic of conversation and debate at the time, and provided a backdrop to photographs taken by a multitude of tourists, art students and advertising layouts in magazines worldwide.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: In I AM THE BEST ARTIST Rene, how is the Background discussed?

If you have not seen that sign, you have nothing to do with art or you've never been to SoHo.René has described the murals as a thumb in the nose to the art community he helped pioneer but by which he later felt ignored.The artist — a very vocal opponent of censorship, hypocrisy and oppression — explains some of his activities as stemming from a desire to liberate not only the art world but also the world at large.It is attributes such as that, he has reflected in hindsight, which may qualify him as "the best artist", having nothing to do with artistic skills.René's ubiquitous declarations, spelled out in large, capital letters punctuated by his signature "René" written in a flowing font, were a topic of conversation and debate at the time, and provided a backdrop to photographs taken by a multitude of tourists, art students and advertising layouts in magazines worldwide.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Focus on I AM THE BEST ARTIST Rene and explain the Locations.

Mural locations were centered along the stretch of West Broadway between Houston Street and Canal Street. The most prominent mural, near the corner of Broome Street and West Broadway (pictured above), measured 10 by 50 ft (3.0 by 15.2 m).The largest of the murals was located on a wall along the southwest corner of West Broadway where Grand Street intersects.This location appears in a montage sequence of the 1987 movie The Secret of My Success, in which a young Cindy Crawford makes an un-credited appearance walking past the mural, catching the eye of the lead character played by Michael J. Fox. The mural was featured prominently among other iconic images of 1980s New York City in general, and SoHo in particular.Another prominent mural spanning the length of a parking lot wall on Wooster Street was painted at a height so that it would be visible above parked cars.René's gallery space and home was across the street from this lot.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Explain the Locations of this artwork, I AM THE BEST ARTIST Rene.

Mural locations were centered along the stretch of West Broadway between Houston Street and Canal Street. The most prominent mural, near the corner of Broome Street and West Broadway (pictured above), measured 10 by 50 ft (3.0 by 15.2 m).The largest of the murals was located on a wall along the southwest corner of West Broadway where Grand Street intersects.This location appears in a montage sequence of the 1987 movie The Secret of My Success, in which a young Cindy Crawford makes an un-credited appearance walking past the mural, catching the eye of the lead character played by Michael J. Fox. The mural was featured prominently among other iconic images of 1980s New York City in general, and SoHo in particular.Another prominent mural spanning the length of a parking lot wall on Wooster Street was painted at a height so that it would be visible above parked cars.René's gallery space and home was across the street from this lot.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: How does I AM THE BEST ARTIST Rene explain its Locations?

Mural locations were centered along the stretch of West Broadway between Houston Street and Canal Street. The most prominent mural, near the corner of Broome Street and West Broadway (pictured above), measured 10 by 50 ft (3.0 by 15.2 m).The largest of the murals was located on a wall along the southwest corner of West Broadway where Grand Street intersects.This location appears in a montage sequence of the 1987 movie The Secret of My Success, in which a young Cindy Crawford makes an un-credited appearance walking past the mural, catching the eye of the lead character played by Michael J. Fox. The mural was featured prominently among other iconic images of 1980s New York City in general, and SoHo in particular.Another prominent mural spanning the length of a parking lot wall on Wooster Street was painted at a height so that it would be visible above parked cars.René's gallery space and home was across the street from this lot.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: In I AM THE BEST ARTIST Rene, how is the Locations discussed?

Mural locations were centered along the stretch of West Broadway between Houston Street and Canal Street. The most prominent mural, near the corner of Broome Street and West Broadway (pictured above), measured 10 by 50 ft (3.0 by 15.2 m).The largest of the murals was located on a wall along the southwest corner of West Broadway where Grand Street intersects.This location appears in a montage sequence of the 1987 movie The Secret of My Success, in which a young Cindy Crawford makes an un-credited appearance walking past the mural, catching the eye of the lead character played by Michael J. Fox. The mural was featured prominently among other iconic images of 1980s New York City in general, and SoHo in particular.Another prominent mural spanning the length of a parking lot wall on Wooster Street was painted at a height so that it would be visible above parked cars.René's gallery space and home was across the street from this lot.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Focus on I AM THE BEST ARTIST Rene and explain the Conflicts and criticism.

René always insisted he obtained permission from landlords to paint the murals, but requests were also sometimes refused, with some SoHo residents commenting that although a mural would be welcome on their property, an I AM THE BEST ARTIST mural would not be welcome.In the case of one refusal, René painted the attendants' stand of the parking lot facing the declined property, getting permission from its owner instead. Another dispute involved a French artist named Le Pointre who tried to claim use of a wall for which René insisted he'd already obtained permission to paint a mural.Vandals often defaced these walls with sarcastic embellishment such as "I Am The Best Fartist" and "I Am The Best Anus", or added simplistic commentary such as "No No No" or "I hate you".Graffiti artists of the era also occasionally obscured the murals with their own work.IATBA murals which may have been defaced would be faithfully repainted by René.René claims the art critic Robert Hughes once assured him directly that he was not, in fact, the best artist. An Artforum writer used an unrelated art review to shine a negative light on The Best Artist, calling René "untalented" and "unchic". Loss of long-time artist friends was another unfortunate consequence.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Explain the Conflicts and criticism of this artwork, I AM THE BEST ARTIST Rene.

René always insisted he obtained permission from landlords to paint the murals, but requests were also sometimes refused, with some SoHo residents commenting that although a mural would be welcome on their property, an I AM THE BEST ARTIST mural would not be welcome.In the case of one refusal, René painted the attendants' stand of the parking lot facing the declined property, getting permission from its owner instead. Another dispute involved a French artist named Le Pointre who tried to claim use of a wall for which René insisted he'd already obtained permission to paint a mural.Vandals often defaced these walls with sarcastic embellishment such as "I Am The Best Fartist" and "I Am The Best Anus", or added simplistic commentary such as "No No No" or "I hate you".Graffiti artists of the era also occasionally obscured the murals with their own work.IATBA murals which may have been defaced would be faithfully repainted by René.René claims the art critic Robert Hughes once assured him directly that he was not, in fact, the best artist. An Artforum writer used an unrelated art review to shine a negative light on The Best Artist, calling René "untalented" and "unchic". Loss of long-time artist friends was another unfortunate consequence.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: How does I AM THE BEST ARTIST Rene explain its Conflicts and criticism?

René always insisted he obtained permission from landlords to paint the murals, but requests were also sometimes refused, with some SoHo residents commenting that although a mural would be welcome on their property, an I AM THE BEST ARTIST mural would not be welcome.In the case of one refusal, René painted the attendants' stand of the parking lot facing the declined property, getting permission from its owner instead. Another dispute involved a French artist named Le Pointre who tried to claim use of a wall for which René insisted he'd already obtained permission to paint a mural.Vandals often defaced these walls with sarcastic embellishment such as "I Am The Best Fartist" and "I Am The Best Anus", or added simplistic commentary such as "No No No" or "I hate you".Graffiti artists of the era also occasionally obscured the murals with their own work.IATBA murals which may have been defaced would be faithfully repainted by René.René claims the art critic Robert Hughes once assured him directly that he was not, in fact, the best artist. An Artforum writer used an unrelated art review to shine a negative light on The Best Artist, calling René "untalented" and "unchic". Loss of long-time artist friends was another unfortunate consequence.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: In I AM THE BEST ARTIST Rene, how is the Conflicts and criticism discussed?

René always insisted he obtained permission from landlords to paint the murals, but requests were also sometimes refused, with some SoHo residents commenting that although a mural would be welcome on their property, an I AM THE BEST ARTIST mural would not be welcome.In the case of one refusal, René painted the attendants' stand of the parking lot facing the declined property, getting permission from its owner instead. Another dispute involved a French artist named Le Pointre who tried to claim use of a wall for which René insisted he'd already obtained permission to paint a mural.Vandals often defaced these walls with sarcastic embellishment such as "I Am The Best Fartist" and "I Am The Best Anus", or added simplistic commentary such as "No No No" or "I hate you".Graffiti artists of the era also occasionally obscured the murals with their own work.IATBA murals which may have been defaced would be faithfully repainted by René.René claims the art critic Robert Hughes once assured him directly that he was not, in fact, the best artist. An Artforum writer used an unrelated art review to shine a negative light on The Best Artist, calling René "untalented" and "unchic". Loss of long-time artist friends was another unfortunate consequence.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: In the context of I AM THE BEST ARTIST Rene, explain the Legal case and the Conflicts and criticism.

One of the murals located along West Broadway was across the street from a gallery owned by Lynn Rubin. René claimed to have obtained permission from the owner of the building to paint the mural at that location. When it came to his attention that Rubin  was having her staff paint over the mural, René arrived to videotape them. Rubin tried to stop him from recording, and it was then, René alleges in a lawsuit filed against her, that she assaulted him by pushing the camcorder into his face, causing him hardship and suffering. The outcome of the lawsuit was not published, but René's murals, and the related legal proceedings, raised discussion about intellectual property, artist's rights, and the First Amendment.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Explain the Legal case about the Conflicts and criticism of this artwork, I AM THE BEST ARTIST Rene.

One of the murals located along West Broadway was across the street from a gallery owned by Lynn Rubin. René claimed to have obtained permission from the owner of the building to paint the mural at that location. When it came to his attention that Rubin  was having her staff paint over the mural, René arrived to videotape them. Rubin tried to stop him from recording, and it was then, René alleges in a lawsuit filed against her, that she assaulted him by pushing the camcorder into his face, causing him hardship and suffering. The outcome of the lawsuit was not published, but René's murals, and the related legal proceedings, raised discussion about intellectual property, artist's rights, and the First Amendment.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: In I AM THE BEST ARTIST Rene, how is the Legal case of the Conflicts and criticism explained?

One of the murals located along West Broadway was across the street from a gallery owned by Lynn Rubin. René claimed to have obtained permission from the owner of the building to paint the mural at that location. When it came to his attention that Rubin  was having her staff paint over the mural, René arrived to videotape them. Rubin tried to stop him from recording, and it was then, René alleges in a lawsuit filed against her, that she assaulted him by pushing the camcorder into his face, causing him hardship and suffering. The outcome of the lawsuit was not published, but René's murals, and the related legal proceedings, raised discussion about intellectual property, artist's rights, and the First Amendment.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Describe the characteristics of the Legal case in I AM THE BEST ARTIST Rene's Conflicts and criticism.

One of the murals located along West Broadway was across the street from a gallery owned by Lynn Rubin. René claimed to have obtained permission from the owner of the building to paint the mural at that location. When it came to his attention that Rubin  was having her staff paint over the mural, René arrived to videotape them. Rubin tried to stop him from recording, and it was then, René alleges in a lawsuit filed against her, that she assaulted him by pushing the camcorder into his face, causing him hardship and suffering. The outcome of the lawsuit was not published, but René's murals, and the related legal proceedings, raised discussion about intellectual property, artist's rights, and the First Amendment.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Focus on I AM THE BEST ARTIST Rene and explain the IATBA Gallery.

René opened his storefront space at 147 Wooster Street, SoHo, as "René's Gallery" in 1977. He opened it to showcase his own artwork — a "monument to himself", as described by John Strausbaugh in a New York Press article of the era — and also used the space to the rear of the gallery as his studio. As René's signature murals gained notoriety, his gallery was also called "I AM THE BEST ARTIST gallery". The gallery was also the site of fashion shows, events by performance artists such as Annie Sprinkle, and exhibitions of artwork by, among others, ballpoint pen artist Lennie Mace, whose exhibition publicity listed the gallery indistinctly as 147 Wooster Gallery. René naively thought opening his own gallery would earn entry into the burgeoning SoHo art set, and went about inviting neighboring gallery owners to come for studio visits or private viewings, but his invitations — and presence in general — went largely ignored.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Explain the IATBA Gallery of this artwork, I AM THE BEST ARTIST Rene.

René opened his storefront space at 147 Wooster Street, SoHo, as "René's Gallery" in 1977. He opened it to showcase his own artwork — a "monument to himself", as described by John Strausbaugh in a New York Press article of the era — and also used the space to the rear of the gallery as his studio. As René's signature murals gained notoriety, his gallery was also called "I AM THE BEST ARTIST gallery". The gallery was also the site of fashion shows, events by performance artists such as Annie Sprinkle, and exhibitions of artwork by, among others, ballpoint pen artist Lennie Mace, whose exhibition publicity listed the gallery indistinctly as 147 Wooster Gallery. René naively thought opening his own gallery would earn entry into the burgeoning SoHo art set, and went about inviting neighboring gallery owners to come for studio visits or private viewings, but his invitations — and presence in general — went largely ignored.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: How does I AM THE BEST ARTIST Rene explain its IATBA Gallery?

René opened his storefront space at 147 Wooster Street, SoHo, as "René's Gallery" in 1977. He opened it to showcase his own artwork — a "monument to himself", as described by John Strausbaugh in a New York Press article of the era — and also used the space to the rear of the gallery as his studio. As René's signature murals gained notoriety, his gallery was also called "I AM THE BEST ARTIST gallery". The gallery was also the site of fashion shows, events by performance artists such as Annie Sprinkle, and exhibitions of artwork by, among others, ballpoint pen artist Lennie Mace, whose exhibition publicity listed the gallery indistinctly as 147 Wooster Gallery. René naively thought opening his own gallery would earn entry into the burgeoning SoHo art set, and went about inviting neighboring gallery owners to come for studio visits or private viewings, but his invitations — and presence in general — went largely ignored.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: In I AM THE BEST ARTIST Rene, how is the IATBA Gallery discussed?

René opened his storefront space at 147 Wooster Street, SoHo, as "René's Gallery" in 1977. He opened it to showcase his own artwork — a "monument to himself", as described by John Strausbaugh in a New York Press article of the era — and also used the space to the rear of the gallery as his studio. As René's signature murals gained notoriety, his gallery was also called "I AM THE BEST ARTIST gallery". The gallery was also the site of fashion shows, events by performance artists such as Annie Sprinkle, and exhibitions of artwork by, among others, ballpoint pen artist Lennie Mace, whose exhibition publicity listed the gallery indistinctly as 147 Wooster Gallery. René naively thought opening his own gallery would earn entry into the burgeoning SoHo art set, and went about inviting neighboring gallery owners to come for studio visits or private viewings, but his invitations — and presence in general — went largely ignored.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Focus on I AM THE BEST ARTIST Rene and explain the End of the murals.

As the neighborhood went upscale and the value of blank wall space rose with property values, I AM THE BEST ARTIST murals were one-by-one covered by billboards or otherwise destroyed in the 1990s. One was removed after the landlord demanded $500 per month to allow René's mural to remain. René later adapted the phrase's abbreviation (IATBA) into his signature - and a surname of sorts. René no longer occupies his long-time Wooster Street space.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: Explain the End of the murals of this artwork, I AM THE BEST ARTIST Rene.

As the neighborhood went upscale and the value of blank wall space rose with property values, I AM THE BEST ARTIST murals were one-by-one covered by billboards or otherwise destroyed in the 1990s. One was removed after the landlord demanded $500 per month to allow René's mural to remain. René later adapted the phrase's abbreviation (IATBA) into his signature - and a surname of sorts. René no longer occupies his long-time Wooster Street space.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: How does I AM THE BEST ARTIST Rene explain its End of the murals?

As the neighborhood went upscale and the value of blank wall space rose with property values, I AM THE BEST ARTIST murals were one-by-one covered by billboards or otherwise destroyed in the 1990s. One was removed after the landlord demanded $500 per month to allow René's mural to remain. René later adapted the phrase's abbreviation (IATBA) into his signature - and a surname of sorts. René no longer occupies his long-time Wooster Street space.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


I AM THE BEST ARTIST Rene

Prompt: In I AM THE BEST ARTIST Rene, how is the End of the murals discussed?

As the neighborhood went upscale and the value of blank wall space rose with property values, I AM THE BEST ARTIST murals were one-by-one covered by billboards or otherwise destroyed in the 1990s. One was removed after the landlord demanded $500 per month to allow René's mural to remain. René later adapted the phrase's abbreviation (IATBA) into his signature - and a surname of sorts. René no longer occupies his long-time Wooster Street space.

Category:Vandalized works of art in New York City

First Amendment to the United States Constitution


Prompt: Focus on A Ride for Liberty – The Fugitive Slaves and explain the abstract.

A Ride for Liberty – The Fugitive Slaves (1862) is a painting by the American artist Eastman Johnson that depicts a family of African Americans fleeing enslavement in the Southern United States during the American Civil War.  It is based on an event that Johnson claimed to have witnessed near Manassas, Virginia, on March 2, 1862.  Johnson painted three versions of the work: two are now in public collections; the location of the third is not known.  According to the Brooklyn Museum, the work is considered "virtually unique in art of the period" in portraying the former slaves as "agents of their own freedom."

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: Explain the abstract of this artwork, A Ride for Liberty – The Fugitive Slaves.

A Ride for Liberty – The Fugitive Slaves (1862) is a painting by the American artist Eastman Johnson that depicts a family of African Americans fleeing enslavement in the Southern United States during the American Civil War.  It is based on an event that Johnson claimed to have witnessed near Manassas, Virginia, on March 2, 1862.  Johnson painted three versions of the work: two are now in public collections; the location of the third is not known.  According to the Brooklyn Museum, the work is considered "virtually unique in art of the period" in portraying the former slaves as "agents of their own freedom."

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: How does A Ride for Liberty – The Fugitive Slaves explain its abstract?

A Ride for Liberty – The Fugitive Slaves (1862) is a painting by the American artist Eastman Johnson that depicts a family of African Americans fleeing enslavement in the Southern United States during the American Civil War.  It is based on an event that Johnson claimed to have witnessed near Manassas, Virginia, on March 2, 1862.  Johnson painted three versions of the work: two are now in public collections; the location of the third is not known.  According to the Brooklyn Museum, the work is considered "virtually unique in art of the period" in portraying the former slaves as "agents of their own freedom."

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: In A Ride for Liberty – The Fugitive Slaves, how is the abstract discussed?

A Ride for Liberty – The Fugitive Slaves (1862) is a painting by the American artist Eastman Johnson that depicts a family of African Americans fleeing enslavement in the Southern United States during the American Civil War.  It is based on an event that Johnson claimed to have witnessed near Manassas, Virginia, on March 2, 1862.  Johnson painted three versions of the work: two are now in public collections; the location of the third is not known.  According to the Brooklyn Museum, the work is considered "virtually unique in art of the period" in portraying the former slaves as "agents of their own freedom."

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: Focus on A Ride for Liberty – The Fugitive Slaves and explain the Background.

By the late 1850s, Johnson had earned a reputation as a rising American artist, particularly with respect to genre paintings.  Notably, Johnson was one of only a handful of American artists creating works depicting the lives of African Americans, having earned considerable attention with his 1859 exhibition of Negro Life at the South.      During the American Civil War, Johnson attached himself to the Union Army and, over the course of the war, would produce numerous paintings and sketches of the people and events he witnessed. In the months prior to the Second Battle of Bull Run Johnson was with the Army of the Potomac outside of Manassas, Virginia. Early in the morning on March 2, 1862, Johnson claimed to have seen a family of African Americans fleeing towards the Union Army lines in the hopes of acquiring contraband status.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: Explain the Background of this artwork, A Ride for Liberty – The Fugitive Slaves.

By the late 1850s, Johnson had earned a reputation as a rising American artist, particularly with respect to genre paintings.  Notably, Johnson was one of only a handful of American artists creating works depicting the lives of African Americans, having earned considerable attention with his 1859 exhibition of Negro Life at the South.      During the American Civil War, Johnson attached himself to the Union Army and, over the course of the war, would produce numerous paintings and sketches of the people and events he witnessed. In the months prior to the Second Battle of Bull Run Johnson was with the Army of the Potomac outside of Manassas, Virginia. Early in the morning on March 2, 1862, Johnson claimed to have seen a family of African Americans fleeing towards the Union Army lines in the hopes of acquiring contraband status.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: How does A Ride for Liberty – The Fugitive Slaves explain its Background?

By the late 1850s, Johnson had earned a reputation as a rising American artist, particularly with respect to genre paintings.  Notably, Johnson was one of only a handful of American artists creating works depicting the lives of African Americans, having earned considerable attention with his 1859 exhibition of Negro Life at the South.      During the American Civil War, Johnson attached himself to the Union Army and, over the course of the war, would produce numerous paintings and sketches of the people and events he witnessed. In the months prior to the Second Battle of Bull Run Johnson was with the Army of the Potomac outside of Manassas, Virginia. Early in the morning on March 2, 1862, Johnson claimed to have seen a family of African Americans fleeing towards the Union Army lines in the hopes of acquiring contraband status.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: In A Ride for Liberty – The Fugitive Slaves, how is the Background discussed?

By the late 1850s, Johnson had earned a reputation as a rising American artist, particularly with respect to genre paintings.  Notably, Johnson was one of only a handful of American artists creating works depicting the lives of African Americans, having earned considerable attention with his 1859 exhibition of Negro Life at the South.      During the American Civil War, Johnson attached himself to the Union Army and, over the course of the war, would produce numerous paintings and sketches of the people and events he witnessed. In the months prior to the Second Battle of Bull Run Johnson was with the Army of the Potomac outside of Manassas, Virginia. Early in the morning on March 2, 1862, Johnson claimed to have seen a family of African Americans fleeing towards the Union Army lines in the hopes of acquiring contraband status.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: Focus on A Ride for Liberty – The Fugitive Slaves and explain the Description.

Johnson began working on his paintings shortly after the incident, and completed three versions at some point during 1862.  The locations of only two are known today:  one is owned by the Brooklyn Museum and the second by the Virginia Museum of Fine Arts.  Both are in oil on board, and neither appears to have been exhibited during Johnson's lifetime.  The version in the Brooklyn Museum measures 55.8 cm × 66.4 cm (22.0 in × 26.1 in) and is signed "E.J." to the lower right.  The reverse side of the board bears Johnson's oil sketch of a scythe sharpening scene, also c.1862.  The work was acquired by the gallery after it held an Eastman Johnson exhibition in 1940, along with Johnson's Not at Home, as gifts from the artist's granddaughter Olga Louise Gwendolyn Conkling: her father Alfred R. Conkling had married Eastman Johnson's daughter Ethel.  The version in the Virginia Museum of Fine Arts is in its Paul Mellon Collection.  It is a similar size, measuring 54.61 cm × 66.04 cm (21.50 in × 26.00 in), and is signed " E. Johnson".  A manuscript label on the back of the painting signed by the artist recounts: "A veritable incident/in the Civil War seen by/myself at Centerville/on this morning of/McClellan's advance towards Manassas March 2, 1862/Eastman Johnson." The paintings depict a family of four African-American slaves on horseback in the murky early morning light.  In front, a child sits in the lap of his father, with his mother riding on the back of the horse holding an infant.  The horse appears in motion, galloping away from the source of their enslavement and towards Union Army lines.  The man is looking ahead, the child down at the horse, and the woman back in case they are being pursued. In the Brooklyn version, some vertical glints ahead of the horse indicate the bayonets and sabers of soldiers about to fight in the distance, but this detail becomes horizontal streaks of morning light in the Virginia version.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: Explain the Description of this artwork, A Ride for Liberty – The Fugitive Slaves.

Johnson began working on his paintings shortly after the incident, and completed three versions at some point during 1862.  The locations of only two are known today:  one is owned by the Brooklyn Museum and the second by the Virginia Museum of Fine Arts.  Both are in oil on board, and neither appears to have been exhibited during Johnson's lifetime.  The version in the Brooklyn Museum measures 55.8 cm × 66.4 cm (22.0 in × 26.1 in) and is signed "E.J." to the lower right.  The reverse side of the board bears Johnson's oil sketch of a scythe sharpening scene, also c.1862.  The work was acquired by the gallery after it held an Eastman Johnson exhibition in 1940, along with Johnson's Not at Home, as gifts from the artist's granddaughter Olga Louise Gwendolyn Conkling: her father Alfred R. Conkling had married Eastman Johnson's daughter Ethel.  The version in the Virginia Museum of Fine Arts is in its Paul Mellon Collection.  It is a similar size, measuring 54.61 cm × 66.04 cm (21.50 in × 26.00 in), and is signed " E. Johnson".  A manuscript label on the back of the painting signed by the artist recounts: "A veritable incident/in the Civil War seen by/myself at Centerville/on this morning of/McClellan's advance towards Manassas March 2, 1862/Eastman Johnson." The paintings depict a family of four African-American slaves on horseback in the murky early morning light.  In front, a child sits in the lap of his father, with his mother riding on the back of the horse holding an infant.  The horse appears in motion, galloping away from the source of their enslavement and towards Union Army lines.  The man is looking ahead, the child down at the horse, and the woman back in case they are being pursued. In the Brooklyn version, some vertical glints ahead of the horse indicate the bayonets and sabers of soldiers about to fight in the distance, but this detail becomes horizontal streaks of morning light in the Virginia version.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: How does A Ride for Liberty – The Fugitive Slaves explain its Description?

Johnson began working on his paintings shortly after the incident, and completed three versions at some point during 1862.  The locations of only two are known today:  one is owned by the Brooklyn Museum and the second by the Virginia Museum of Fine Arts.  Both are in oil on board, and neither appears to have been exhibited during Johnson's lifetime.  The version in the Brooklyn Museum measures 55.8 cm × 66.4 cm (22.0 in × 26.1 in) and is signed "E.J." to the lower right.  The reverse side of the board bears Johnson's oil sketch of a scythe sharpening scene, also c.1862.  The work was acquired by the gallery after it held an Eastman Johnson exhibition in 1940, along with Johnson's Not at Home, as gifts from the artist's granddaughter Olga Louise Gwendolyn Conkling: her father Alfred R. Conkling had married Eastman Johnson's daughter Ethel.  The version in the Virginia Museum of Fine Arts is in its Paul Mellon Collection.  It is a similar size, measuring 54.61 cm × 66.04 cm (21.50 in × 26.00 in), and is signed " E. Johnson".  A manuscript label on the back of the painting signed by the artist recounts: "A veritable incident/in the Civil War seen by/myself at Centerville/on this morning of/McClellan's advance towards Manassas March 2, 1862/Eastman Johnson." The paintings depict a family of four African-American slaves on horseback in the murky early morning light.  In front, a child sits in the lap of his father, with his mother riding on the back of the horse holding an infant.  The horse appears in motion, galloping away from the source of their enslavement and towards Union Army lines.  The man is looking ahead, the child down at the horse, and the woman back in case they are being pursued. In the Brooklyn version, some vertical glints ahead of the horse indicate the bayonets and sabers of soldiers about to fight in the distance, but this detail becomes horizontal streaks of morning light in the Virginia version.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: In A Ride for Liberty – The Fugitive Slaves, how is the Description discussed?

Johnson began working on his paintings shortly after the incident, and completed three versions at some point during 1862.  The locations of only two are known today:  one is owned by the Brooklyn Museum and the second by the Virginia Museum of Fine Arts.  Both are in oil on board, and neither appears to have been exhibited during Johnson's lifetime.  The version in the Brooklyn Museum measures 55.8 cm × 66.4 cm (22.0 in × 26.1 in) and is signed "E.J." to the lower right.  The reverse side of the board bears Johnson's oil sketch of a scythe sharpening scene, also c.1862.  The work was acquired by the gallery after it held an Eastman Johnson exhibition in 1940, along with Johnson's Not at Home, as gifts from the artist's granddaughter Olga Louise Gwendolyn Conkling: her father Alfred R. Conkling had married Eastman Johnson's daughter Ethel.  The version in the Virginia Museum of Fine Arts is in its Paul Mellon Collection.  It is a similar size, measuring 54.61 cm × 66.04 cm (21.50 in × 26.00 in), and is signed " E. Johnson".  A manuscript label on the back of the painting signed by the artist recounts: "A veritable incident/in the Civil War seen by/myself at Centerville/on this morning of/McClellan's advance towards Manassas March 2, 1862/Eastman Johnson." The paintings depict a family of four African-American slaves on horseback in the murky early morning light.  In front, a child sits in the lap of his father, with his mother riding on the back of the horse holding an infant.  The horse appears in motion, galloping away from the source of their enslavement and towards Union Army lines.  The man is looking ahead, the child down at the horse, and the woman back in case they are being pursued. In the Brooklyn version, some vertical glints ahead of the horse indicate the bayonets and sabers of soldiers about to fight in the distance, but this detail becomes horizontal streaks of morning light in the Virginia version.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: Focus on A Ride for Liberty – The Fugitive Slaves and explain the Legacy.

A Ride for Liberty – The Fugitive Slaves is considered one of Johnson's best works and a highlight of his career as an artist.  It has also been praised by historians as one of only a handful of contemporary works depicting the plight of slaves fleeing captivity in the South.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: Explain the Legacy of this artwork, A Ride for Liberty – The Fugitive Slaves.

A Ride for Liberty – The Fugitive Slaves is considered one of Johnson's best works and a highlight of his career as an artist.  It has also been praised by historians as one of only a handful of contemporary works depicting the plight of slaves fleeing captivity in the South.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: How does A Ride for Liberty – The Fugitive Slaves explain its Legacy?

A Ride for Liberty – The Fugitive Slaves is considered one of Johnson's best works and a highlight of his career as an artist.  It has also been praised by historians as one of only a handful of contemporary works depicting the plight of slaves fleeing captivity in the South.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Prompt: In A Ride for Liberty – The Fugitive Slaves, how is the Legacy discussed?

A Ride for Liberty – The Fugitive Slaves is considered one of Johnson's best works and a highlight of his career as an artist.  It has also been praised by historians as one of only a handful of contemporary works depicting the plight of slaves fleeing captivity in the South.

Category:Paintings in the Brooklyn Museum

Category:Paintings in the Virginia Museum of Fine Arts


Trying to Trash Betsy DeVos

Prompt: Focus on Trying to Trash Betsy DeVos and explain the abstract.

Trying to Trash Betsy DeVos is a political cartoon by American cartoonist Glenn McCoy, published on February 13, 2017, on the GoComics website as well as the Belleville News-Democrat website. The cartoon centrally depicts Betsy DeVos, the United States Secretary of Education in the Trump Administration and is thematically based on the 1964 painting The Problem We All Live With by Norman Rockwell. It attracted critical commentary in mainstream media.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: Explain the abstract of this artwork, Trying to Trash Betsy DeVos.

Trying to Trash Betsy DeVos is a political cartoon by American cartoonist Glenn McCoy, published on February 13, 2017, on the GoComics website as well as the Belleville News-Democrat website. The cartoon centrally depicts Betsy DeVos, the United States Secretary of Education in the Trump Administration and is thematically based on the 1964 painting The Problem We All Live With by Norman Rockwell. It attracted critical commentary in mainstream media.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: How does Trying to Trash Betsy DeVos explain its abstract?

Trying to Trash Betsy DeVos is a political cartoon by American cartoonist Glenn McCoy, published on February 13, 2017, on the GoComics website as well as the Belleville News-Democrat website. The cartoon centrally depicts Betsy DeVos, the United States Secretary of Education in the Trump Administration and is thematically based on the 1964 painting The Problem We All Live With by Norman Rockwell. It attracted critical commentary in mainstream media.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: In Trying to Trash Betsy DeVos, how is the abstract discussed?

Trying to Trash Betsy DeVos is a political cartoon by American cartoonist Glenn McCoy, published on February 13, 2017, on the GoComics website as well as the Belleville News-Democrat website. The cartoon centrally depicts Betsy DeVos, the United States Secretary of Education in the Trump Administration and is thematically based on the 1964 painting The Problem We All Live With by Norman Rockwell. It attracted critical commentary in mainstream media.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: Focus on Trying to Trash Betsy DeVos and explain the Description.

The cartoon depicts a small version of DeVos walking and surrounded by large men in suits, who are possibly guards.  The remains of a thrown tomato can also be seen. The word "CONSERVATiVE" is scrawled on the background wall in gray graffiti in addition to a red anarchy symbol.  The abbreviation for the National Education Association is also written on the lefthand side.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: Explain the Description of this artwork, Trying to Trash Betsy DeVos.

The cartoon depicts a small version of DeVos walking and surrounded by large men in suits, who are possibly guards.  The remains of a thrown tomato can also be seen. The word "CONSERVATiVE" is scrawled on the background wall in gray graffiti in addition to a red anarchy symbol.  The abbreviation for the National Education Association is also written on the lefthand side.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: How does Trying to Trash Betsy DeVos explain its Description?

The cartoon depicts a small version of DeVos walking and surrounded by large men in suits, who are possibly guards.  The remains of a thrown tomato can also be seen. The word "CONSERVATiVE" is scrawled on the background wall in gray graffiti in addition to a red anarchy symbol.  The abbreviation for the National Education Association is also written on the lefthand side.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: In Trying to Trash Betsy DeVos, how is the Description discussed?

The cartoon depicts a small version of DeVos walking and surrounded by large men in suits, who are possibly guards.  The remains of a thrown tomato can also be seen. The word "CONSERVATiVE" is scrawled on the background wall in gray graffiti in addition to a red anarchy symbol.  The abbreviation for the National Education Association is also written on the lefthand side.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: Focus on Trying to Trash Betsy DeVos and explain the Publication.

The cartoon was published online on February 13, 2017, on the GoComics website, in addition to multiple newspapers.  It was also published on the website of the Belleville News-Democrat.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: Explain the Publication of this artwork, Trying to Trash Betsy DeVos.

The cartoon was published online on February 13, 2017, on the GoComics website, in addition to multiple newspapers.  It was also published on the website of the Belleville News-Democrat.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: How does Trying to Trash Betsy DeVos explain its Publication?

The cartoon was published online on February 13, 2017, on the GoComics website, in addition to multiple newspapers.  It was also published on the website of the Belleville News-Democrat.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: In Trying to Trash Betsy DeVos, how is the Publication discussed?

The cartoon was published online on February 13, 2017, on the GoComics website, in addition to multiple newspapers.  It was also published on the website of the Belleville News-Democrat.

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: Focus on Trying to Trash Betsy DeVos and explain the Reaction.

Commentators point out that the political cartoon draws directly upon The Problem We All Live With by Norman Rockwell, which depicts Ruby Bridges being escorted to school as a child during a time when crowds of white protesters would actively prevent desegregation efforts initiated by the Brown v. Board of Education case.  McCoy confirmed that he used the Rockwell piece as an inspiration for the political cartoon.On social media, the cartoon was met with unfavorable criticism. Readers of the Belleville News-Democrat demanded both that McCoy apologize and that he be terminated from his position.Many complaints centered upon an alleged false equivalency. Among others, Chelsea Clinton responded publicly by expressing outrage at the cartoon, and subsequently pointed out The Problem We All Live With on Twitter.  One reason for this reaction was due to the explicit comparison of opposition to DeVos with themes of racism explored in Norman Rockwell's The Problem We All Live With.  German Lopez at Vox.com opined that "protests against DeVos and racial segregation in American schools are not the same".  Jillian Steinhauer asserted that McCoy's work is an example of false equivalence, saying, "Glenn McCoy appropriated Norman Rockwell’s The Problem We All Live With, replacing the six-year-old black girl who desegregated a public school with the billionaire Secretary of Education". USA Today highlighted a comment from a reader who responded to the image, claiming it represents an example of white privilege.A representative for the National Education Association offered no comment on the political cartoon.McCoy responded to criticism via e-mail, saying, "I regret if anyone was offended by my choice of metaphors", and noted that he wanted to draw attention to and start public discussion on the behavior of protesters. In a statement on the Belleville News-Democrat website, McCoy also expressed disappointment that, "decades beyond the civil rights protests... people are still being denied the right to speak freely or do their jobs or enter public buildings because others disagree with who they are or how they think". Faced with accusations that the image is hateful, McCoy defended his work, saying, "I thought I was speaking out against hate... You may disagree with her on issues but I didn't see any hate coming from her. I did, however, see hate going in the other direction, which is what made me think of the Rockwell image. That was the only comparison I was drawing".

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: Explain the Reaction of this artwork, Trying to Trash Betsy DeVos.

Commentators point out that the political cartoon draws directly upon The Problem We All Live With by Norman Rockwell, which depicts Ruby Bridges being escorted to school as a child during a time when crowds of white protesters would actively prevent desegregation efforts initiated by the Brown v. Board of Education case.  McCoy confirmed that he used the Rockwell piece as an inspiration for the political cartoon.On social media, the cartoon was met with unfavorable criticism. Readers of the Belleville News-Democrat demanded both that McCoy apologize and that he be terminated from his position.Many complaints centered upon an alleged false equivalency. Among others, Chelsea Clinton responded publicly by expressing outrage at the cartoon, and subsequently pointed out The Problem We All Live With on Twitter.  One reason for this reaction was due to the explicit comparison of opposition to DeVos with themes of racism explored in Norman Rockwell's The Problem We All Live With.  German Lopez at Vox.com opined that "protests against DeVos and racial segregation in American schools are not the same".  Jillian Steinhauer asserted that McCoy's work is an example of false equivalence, saying, "Glenn McCoy appropriated Norman Rockwell’s The Problem We All Live With, replacing the six-year-old black girl who desegregated a public school with the billionaire Secretary of Education". USA Today highlighted a comment from a reader who responded to the image, claiming it represents an example of white privilege.A representative for the National Education Association offered no comment on the political cartoon.McCoy responded to criticism via e-mail, saying, "I regret if anyone was offended by my choice of metaphors", and noted that he wanted to draw attention to and start public discussion on the behavior of protesters. In a statement on the Belleville News-Democrat website, McCoy also expressed disappointment that, "decades beyond the civil rights protests... people are still being denied the right to speak freely or do their jobs or enter public buildings because others disagree with who they are or how they think". Faced with accusations that the image is hateful, McCoy defended his work, saying, "I thought I was speaking out against hate... You may disagree with her on issues but I didn't see any hate coming from her. I did, however, see hate going in the other direction, which is what made me think of the Rockwell image. That was the only comparison I was drawing".

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon


Trying to Trash Betsy DeVos

Prompt: How does Trying to Trash Betsy DeVos explain its Reaction?

Commentators point out that the political cartoon draws directly upon The Problem We All Live With by Norman Rockwell, which depicts Ruby Bridges being escorted to school as a child during a time when crowds of white protesters would actively prevent desegregation efforts initiated by the Brown v. Board of Education case.  McCoy confirmed that he used the Rockwell piece as an inspiration for the political cartoon.On social media, the cartoon was met with unfavorable criticism. Readers of the Belleville News-Democrat demanded both that McCoy apologize and that he be terminated from his position.Many complaints centered upon an alleged false equivalency. Among others, Chelsea Clinton responded publicly by expressing outrage at the cartoon, and subsequently pointed out The Problem We All Live With on Twitter.  One reason for this reaction was due to the explicit comparison of opposition to DeVos with themes of racism explored in Norman Rockwell's The Problem We All Live With.  German Lopez at Vox.com opined that "protests against DeVos and racial segregation in American schools are not the same".  Jillian Steinhauer asserted that McCoy's work is an example of false equivalence, saying, "Glenn McCoy appropriated Norman Rockwell’s The Problem We All Live With, replacing the six-year-old black girl who desegregated a public school with the billionaire Secretary of Education". USA Today highlighted a comment from a reader who responded to the image, claiming it represents an example of white privilege.A representative for the National Education Association offered no comment on the political cartoon.McCoy responded to criticism via e-mail, saying, "I regret if anyone was offended by my choice of metaphors", and noted that he wanted to draw attention to and start public discussion on the behavior of protesters. In a statement on the Belleville News-Democrat website, McCoy also expressed disappointment that, "decades beyond the civil rights protests... people are still being denied the right to speak freely or do their jobs or enter public buildings because others disagree with who they are or how they think". Faced with accusations that the image is hateful, McCoy defended his work, saying, "I thought I was speaking out against hate... You may disagree with her on issues but I didn't see any hate coming from her. I did, however, see hate going in the other direction, which is what made me think of the Rockwell image. That was the only comparison I was drawing".

Category:Cultural depictions of politicians

Category:Race-related controversies in art

Category:Cultural depictions of American people

Category:2017 controversies in the United States

Category:Political controversies in the United States

Category:Media about the Trump presidency

Betsy DeVos, the subject of the political cartoon