Bharat Mata (painting)

Prompt: Focus on Bharat Mata (painting) and explain the abstract.

Bharat Mata is a work painted by the Indian painter Abanindranath Tagore in 1905. However, the painting was first painted by Bankim Chandra Chattopadhyay  in the 1870s. The work depicts a saffron-clad woman, dressed like a sadhvi, holding a book, sheaves of paddy, a piece of white cloth, and a rudraksha garland (mala) in her four hands. The painting was the first illustrated depiction of the concept and was painted with Swadesh ideals during the larger Indian Independence movement.A nephew of the Indian poet and artist Rabindranath Tagore, Abanindranath was exposed at an early age to the artistic inclinations of the Tagore family.Tagore had been exposed to learning art when he first studied at the Sanskrit College in Kolkata in the 1880s. In his early years, Tagore had painted in the European naturalistic style, evident from his early paintings such as The Armoury. In about 1886 or 1887, Tagore's relative Gyanadanandini Devi had set up a meeting between Tagore and E.B Havell, who was the curator of the Government school of Art in Calcutta. The meeting resulted in a series of exchanges between Havell and Tagore, with Havell gaining a native art collaborator with ideas in the same direction of his own, and Tagore gaining a teacher who would teach him about the 'science' of Indian art history. He attempted to induct Tagore as the Vice Principal of the art school, which was faced with heavy opposition in the school. Havell had to bend much of the school rules to do this, and tolerated many of Tagore's habits including the smoking of hookah in the classrooms and refusing to stick to time schedules.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: Explain the abstract of this artwork, Bharat Mata (painting).

Bharat Mata is a work painted by the Indian painter Abanindranath Tagore in 1905. However, the painting was first painted by Bankim Chandra Chattopadhyay  in the 1870s. The work depicts a saffron-clad woman, dressed like a sadhvi, holding a book, sheaves of paddy, a piece of white cloth, and a rudraksha garland (mala) in her four hands. The painting was the first illustrated depiction of the concept and was painted with Swadesh ideals during the larger Indian Independence movement.A nephew of the Indian poet and artist Rabindranath Tagore, Abanindranath was exposed at an early age to the artistic inclinations of the Tagore family.Tagore had been exposed to learning art when he first studied at the Sanskrit College in Kolkata in the 1880s. In his early years, Tagore had painted in the European naturalistic style, evident from his early paintings such as The Armoury. In about 1886 or 1887, Tagore's relative Gyanadanandini Devi had set up a meeting between Tagore and E.B Havell, who was the curator of the Government school of Art in Calcutta. The meeting resulted in a series of exchanges between Havell and Tagore, with Havell gaining a native art collaborator with ideas in the same direction of his own, and Tagore gaining a teacher who would teach him about the 'science' of Indian art history. He attempted to induct Tagore as the Vice Principal of the art school, which was faced with heavy opposition in the school. Havell had to bend much of the school rules to do this, and tolerated many of Tagore's habits including the smoking of hookah in the classrooms and refusing to stick to time schedules.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: How does Bharat Mata (painting) explain its abstract?

Bharat Mata is a work painted by the Indian painter Abanindranath Tagore in 1905. However, the painting was first painted by Bankim Chandra Chattopadhyay  in the 1870s. The work depicts a saffron-clad woman, dressed like a sadhvi, holding a book, sheaves of paddy, a piece of white cloth, and a rudraksha garland (mala) in her four hands. The painting was the first illustrated depiction of the concept and was painted with Swadesh ideals during the larger Indian Independence movement.A nephew of the Indian poet and artist Rabindranath Tagore, Abanindranath was exposed at an early age to the artistic inclinations of the Tagore family.Tagore had been exposed to learning art when he first studied at the Sanskrit College in Kolkata in the 1880s. In his early years, Tagore had painted in the European naturalistic style, evident from his early paintings such as The Armoury. In about 1886 or 1887, Tagore's relative Gyanadanandini Devi had set up a meeting between Tagore and E.B Havell, who was the curator of the Government school of Art in Calcutta. The meeting resulted in a series of exchanges between Havell and Tagore, with Havell gaining a native art collaborator with ideas in the same direction of his own, and Tagore gaining a teacher who would teach him about the 'science' of Indian art history. He attempted to induct Tagore as the Vice Principal of the art school, which was faced with heavy opposition in the school. Havell had to bend much of the school rules to do this, and tolerated many of Tagore's habits including the smoking of hookah in the classrooms and refusing to stick to time schedules.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: In Bharat Mata (painting), how is the abstract discussed?

Bharat Mata is a work painted by the Indian painter Abanindranath Tagore in 1905. However, the painting was first painted by Bankim Chandra Chattopadhyay  in the 1870s. The work depicts a saffron-clad woman, dressed like a sadhvi, holding a book, sheaves of paddy, a piece of white cloth, and a rudraksha garland (mala) in her four hands. The painting was the first illustrated depiction of the concept and was painted with Swadesh ideals during the larger Indian Independence movement.A nephew of the Indian poet and artist Rabindranath Tagore, Abanindranath was exposed at an early age to the artistic inclinations of the Tagore family.Tagore had been exposed to learning art when he first studied at the Sanskrit College in Kolkata in the 1880s. In his early years, Tagore had painted in the European naturalistic style, evident from his early paintings such as The Armoury. In about 1886 or 1887, Tagore's relative Gyanadanandini Devi had set up a meeting between Tagore and E.B Havell, who was the curator of the Government school of Art in Calcutta. The meeting resulted in a series of exchanges between Havell and Tagore, with Havell gaining a native art collaborator with ideas in the same direction of his own, and Tagore gaining a teacher who would teach him about the 'science' of Indian art history. He attempted to induct Tagore as the Vice Principal of the art school, which was faced with heavy opposition in the school. Havell had to bend much of the school rules to do this, and tolerated many of Tagore's habits including the smoking of hookah in the classrooms and refusing to stick to time schedules.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: Focus on Bharat Mata (painting) and explain the Subject.

Bharat Mata is depicted as a saffron-clad divine woman, holding a book, sheaves of paddy, a piece of white cloth and a rosary in her four hands. The painting holds historical significance as it is one of the earliest visualizations of Bharat Mata, or "Mother India."

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: Explain the Subject of this artwork, Bharat Mata (painting).

Bharat Mata is depicted as a saffron-clad divine woman, holding a book, sheaves of paddy, a piece of white cloth and a rosary in her four hands. The painting holds historical significance as it is one of the earliest visualizations of Bharat Mata, or "Mother India."

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: How does Bharat Mata (painting) explain its Subject?

Bharat Mata is depicted as a saffron-clad divine woman, holding a book, sheaves of paddy, a piece of white cloth and a rosary in her four hands. The painting holds historical significance as it is one of the earliest visualizations of Bharat Mata, or "Mother India."

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: In Bharat Mata (painting), how is the Subject discussed?

Bharat Mata is depicted as a saffron-clad divine woman, holding a book, sheaves of paddy, a piece of white cloth and a rosary in her four hands. The painting holds historical significance as it is one of the earliest visualizations of Bharat Mata, or "Mother India."

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: Focus on Bharat Mata (painting) and explain the Themes and composition.

The work was painted during the Swadeshi movement. The movement began as a response to the Partition of Bengal (1905), when Lord Curzon split the largely Muslim eastern areas of Bengal from the largely Hindu western areas.  In response, Indian nationalists participating in the swadeshi movement resisted the British by boycotting British goods and institutions, holding meetings and processions, forming committees, and applying diplomatic pressure.The painting's central figure holds multiple items associated with Indian culture and the economy of India in the early twentieth century, such as a book, sheaves of paddy, a piece of white cloth and a garland. Moreover, the painting's central figure has four hands, evocative of Hindu imagery, which equates multiple hands with immense power.The painting has been characterized as "an attempt of humanisation of 'Bharat Mata' where the mother is seeking liberation through her sons," by Jayanta Sengupta, curator of the Indian Museum in Kolkata, India.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: Explain the Themes and composition of this artwork, Bharat Mata (painting).

The work was painted during the Swadeshi movement. The movement began as a response to the Partition of Bengal (1905), when Lord Curzon split the largely Muslim eastern areas of Bengal from the largely Hindu western areas.  In response, Indian nationalists participating in the swadeshi movement resisted the British by boycotting British goods and institutions, holding meetings and processions, forming committees, and applying diplomatic pressure.The painting's central figure holds multiple items associated with Indian culture and the economy of India in the early twentieth century, such as a book, sheaves of paddy, a piece of white cloth and a garland. Moreover, the painting's central figure has four hands, evocative of Hindu imagery, which equates multiple hands with immense power.The painting has been characterized as "an attempt of humanisation of 'Bharat Mata' where the mother is seeking liberation through her sons," by Jayanta Sengupta, curator of the Indian Museum in Kolkata, India.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: How does Bharat Mata (painting) explain its Themes and composition?

The work was painted during the Swadeshi movement. The movement began as a response to the Partition of Bengal (1905), when Lord Curzon split the largely Muslim eastern areas of Bengal from the largely Hindu western areas.  In response, Indian nationalists participating in the swadeshi movement resisted the British by boycotting British goods and institutions, holding meetings and processions, forming committees, and applying diplomatic pressure.The painting's central figure holds multiple items associated with Indian culture and the economy of India in the early twentieth century, such as a book, sheaves of paddy, a piece of white cloth and a garland. Moreover, the painting's central figure has four hands, evocative of Hindu imagery, which equates multiple hands with immense power.The painting has been characterized as "an attempt of humanisation of 'Bharat Mata' where the mother is seeking liberation through her sons," by Jayanta Sengupta, curator of the Indian Museum in Kolkata, India.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: In Bharat Mata (painting), how is the Themes and composition discussed?

The work was painted during the Swadeshi movement. The movement began as a response to the Partition of Bengal (1905), when Lord Curzon split the largely Muslim eastern areas of Bengal from the largely Hindu western areas.  In response, Indian nationalists participating in the swadeshi movement resisted the British by boycotting British goods and institutions, holding meetings and processions, forming committees, and applying diplomatic pressure.The painting's central figure holds multiple items associated with Indian culture and the economy of India in the early twentieth century, such as a book, sheaves of paddy, a piece of white cloth and a garland. Moreover, the painting's central figure has four hands, evocative of Hindu imagery, which equates multiple hands with immense power.The painting has been characterized as "an attempt of humanisation of 'Bharat Mata' where the mother is seeking liberation through her sons," by Jayanta Sengupta, curator of the Indian Museum in Kolkata, India.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: Focus on Bharat Mata (painting) and explain the After completion.

Since 1905, many iterations of the Bharat Mata have been made in paintings and other forms of art. However, the significance of Tagore's original painting is still recognized. In 2016, Bharat Mata was put on display at the Victoria Memorial Hall in Kolkata, India.Sister Nivedita, the inspiration behind the Bengal School of Art, praised the painting by saying:From beginning to end, the picture is an appeal, in the Indian language, to the Indian heart. It is the first great masterpiece in a new style. I would reprint- it, if I could, by tens of thousands, and scatter it broadcast over the land, till there was not a peasant's cottage, or a craftman's hut, between Kedar Nath and Cape Comorin, that had not this presentment of Bharat-Mata somewhere on its walls. Over and over again, as one looks into its qualities, one is struck by the purity and delicacy of the personality portrayed.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: Explain the After completion of this artwork, Bharat Mata (painting).

Since 1905, many iterations of the Bharat Mata have been made in paintings and other forms of art. However, the significance of Tagore's original painting is still recognized. In 2016, Bharat Mata was put on display at the Victoria Memorial Hall in Kolkata, India.Sister Nivedita, the inspiration behind the Bengal School of Art, praised the painting by saying:From beginning to end, the picture is an appeal, in the Indian language, to the Indian heart. It is the first great masterpiece in a new style. I would reprint- it, if I could, by tens of thousands, and scatter it broadcast over the land, till there was not a peasant's cottage, or a craftman's hut, between Kedar Nath and Cape Comorin, that had not this presentment of Bharat-Mata somewhere on its walls. Over and over again, as one looks into its qualities, one is struck by the purity and delicacy of the personality portrayed.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: How does Bharat Mata (painting) explain its After completion?

Since 1905, many iterations of the Bharat Mata have been made in paintings and other forms of art. However, the significance of Tagore's original painting is still recognized. In 2016, Bharat Mata was put on display at the Victoria Memorial Hall in Kolkata, India.Sister Nivedita, the inspiration behind the Bengal School of Art, praised the painting by saying:From beginning to end, the picture is an appeal, in the Indian language, to the Indian heart. It is the first great masterpiece in a new style. I would reprint- it, if I could, by tens of thousands, and scatter it broadcast over the land, till there was not a peasant's cottage, or a craftman's hut, between Kedar Nath and Cape Comorin, that had not this presentment of Bharat-Mata somewhere on its walls. Over and over again, as one looks into its qualities, one is struck by the purity and delicacy of the personality portrayed.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: In Bharat Mata (painting), how is the After completion discussed?

Since 1905, many iterations of the Bharat Mata have been made in paintings and other forms of art. However, the significance of Tagore's original painting is still recognized. In 2016, Bharat Mata was put on display at the Victoria Memorial Hall in Kolkata, India.Sister Nivedita, the inspiration behind the Bengal School of Art, praised the painting by saying:From beginning to end, the picture is an appeal, in the Indian language, to the Indian heart. It is the first great masterpiece in a new style. I would reprint- it, if I could, by tens of thousands, and scatter it broadcast over the land, till there was not a peasant's cottage, or a craftman's hut, between Kedar Nath and Cape Comorin, that had not this presentment of Bharat-Mata somewhere on its walls. Over and over again, as one looks into its qualities, one is struck by the purity and delicacy of the personality portrayed.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: Focus on Bharat Mata (painting) and explain the Title and literary context.

This famous painting by Abanindranath Tagore did not have its now-popular title Bharat Mata when it was first published in the famous periodical of arts and culture, Prabasi. The caption to the image in the magazine read: Matrimurti. The word in Bengali literally means the figure of the Mother. Contrary to the norms of the day, the artist's name also, did not feature alongside the caption.Abanindranath Tagore himself had thought of the painting's title as Banga Mata, literally meaning the Mother of Bengal. For the artist had based his representation on the common, everyday Bengali woman, and it was an ode to her. Yet the nationalist feelings that the painting evoked metamorphosed it Abanindranath's Banga Mata to Bharat Mata, a pan-Indian figure, inspiring people across the length and breadth of the nation.However, it was Sister Nivedita who rechristened the painting as Bharat Mata, noting down its iconography and politics of representation in detail. Nivedita was so enamoured by the painting that she wished to carry it from Kashmir to Kanyakumari to inspire the people in the mantra of Swadeshi. For her, the symbols and specifically the things the image holds, connotes clear nationalist meanings of strength and resistance.The Prabasi magazine had subsequently featured prints of similar maternal icons during this period of the Swadeshi. These included: a painting of St. Genevieve, the patron saint of Paris, painted by Pierre-Cécile Puvis de Chavannes, and a painting of Madonna, by Dagnan-Bouveret, the French naturalist painter. Dagnan-Bouveret's painting was also entitled Matrimurti. All these female icons and their paintings expressed a similar idea of purity, resistance and freedom embodied in the feminine figure of the mother. By labelling Abanindranath's painting as Bharat Mata, Nivedita brings it to the same level as that of the Christian female icons. Thus, she links Abanindranath's canvas with European art's convention of embodying the spirit of the country and patriotism in the figure of a mother. Through this she counters both the British and its colonial subjugation of India, and gives to the Indians a concrete mother figure with which they can relate, and associate their idea of the nation, and be inspired to participate in Swadeshi.Abanindranath Tagore's Bharat Mata, the DAG Museums note, is linked with the Swadeshi art and the rejuvenation of a Pan-Asian identity, aestheticism and idiom. However, when one looks at the gradual evolution of its etymological label, we see how it gets complicated as a piece of nationalist art.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: Explain the Title and literary context of this artwork, Bharat Mata (painting).

This famous painting by Abanindranath Tagore did not have its now-popular title Bharat Mata when it was first published in the famous periodical of arts and culture, Prabasi. The caption to the image in the magazine read: Matrimurti. The word in Bengali literally means the figure of the Mother. Contrary to the norms of the day, the artist's name also, did not feature alongside the caption.Abanindranath Tagore himself had thought of the painting's title as Banga Mata, literally meaning the Mother of Bengal. For the artist had based his representation on the common, everyday Bengali woman, and it was an ode to her. Yet the nationalist feelings that the painting evoked metamorphosed it Abanindranath's Banga Mata to Bharat Mata, a pan-Indian figure, inspiring people across the length and breadth of the nation.However, it was Sister Nivedita who rechristened the painting as Bharat Mata, noting down its iconography and politics of representation in detail. Nivedita was so enamoured by the painting that she wished to carry it from Kashmir to Kanyakumari to inspire the people in the mantra of Swadeshi. For her, the symbols and specifically the things the image holds, connotes clear nationalist meanings of strength and resistance.The Prabasi magazine had subsequently featured prints of similar maternal icons during this period of the Swadeshi. These included: a painting of St. Genevieve, the patron saint of Paris, painted by Pierre-Cécile Puvis de Chavannes, and a painting of Madonna, by Dagnan-Bouveret, the French naturalist painter. Dagnan-Bouveret's painting was also entitled Matrimurti. All these female icons and their paintings expressed a similar idea of purity, resistance and freedom embodied in the feminine figure of the mother. By labelling Abanindranath's painting as Bharat Mata, Nivedita brings it to the same level as that of the Christian female icons. Thus, she links Abanindranath's canvas with European art's convention of embodying the spirit of the country and patriotism in the figure of a mother. Through this she counters both the British and its colonial subjugation of India, and gives to the Indians a concrete mother figure with which they can relate, and associate their idea of the nation, and be inspired to participate in Swadeshi.Abanindranath Tagore's Bharat Mata, the DAG Museums note, is linked with the Swadeshi art and the rejuvenation of a Pan-Asian identity, aestheticism and idiom. However, when one looks at the gradual evolution of its etymological label, we see how it gets complicated as a piece of nationalist art.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: How does Bharat Mata (painting) explain its Title and literary context?

This famous painting by Abanindranath Tagore did not have its now-popular title Bharat Mata when it was first published in the famous periodical of arts and culture, Prabasi. The caption to the image in the magazine read: Matrimurti. The word in Bengali literally means the figure of the Mother. Contrary to the norms of the day, the artist's name also, did not feature alongside the caption.Abanindranath Tagore himself had thought of the painting's title as Banga Mata, literally meaning the Mother of Bengal. For the artist had based his representation on the common, everyday Bengali woman, and it was an ode to her. Yet the nationalist feelings that the painting evoked metamorphosed it Abanindranath's Banga Mata to Bharat Mata, a pan-Indian figure, inspiring people across the length and breadth of the nation.However, it was Sister Nivedita who rechristened the painting as Bharat Mata, noting down its iconography and politics of representation in detail. Nivedita was so enamoured by the painting that she wished to carry it from Kashmir to Kanyakumari to inspire the people in the mantra of Swadeshi. For her, the symbols and specifically the things the image holds, connotes clear nationalist meanings of strength and resistance.The Prabasi magazine had subsequently featured prints of similar maternal icons during this period of the Swadeshi. These included: a painting of St. Genevieve, the patron saint of Paris, painted by Pierre-Cécile Puvis de Chavannes, and a painting of Madonna, by Dagnan-Bouveret, the French naturalist painter. Dagnan-Bouveret's painting was also entitled Matrimurti. All these female icons and their paintings expressed a similar idea of purity, resistance and freedom embodied in the feminine figure of the mother. By labelling Abanindranath's painting as Bharat Mata, Nivedita brings it to the same level as that of the Christian female icons. Thus, she links Abanindranath's canvas with European art's convention of embodying the spirit of the country and patriotism in the figure of a mother. Through this she counters both the British and its colonial subjugation of India, and gives to the Indians a concrete mother figure with which they can relate, and associate their idea of the nation, and be inspired to participate in Swadeshi.Abanindranath Tagore's Bharat Mata, the DAG Museums note, is linked with the Swadeshi art and the rejuvenation of a Pan-Asian identity, aestheticism and idiom. However, when one looks at the gradual evolution of its etymological label, we see how it gets complicated as a piece of nationalist art.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


Bharat Mata (painting)

Prompt: In Bharat Mata (painting), how is the Title and literary context discussed?

This famous painting by Abanindranath Tagore did not have its now-popular title Bharat Mata when it was first published in the famous periodical of arts and culture, Prabasi. The caption to the image in the magazine read: Matrimurti. The word in Bengali literally means the figure of the Mother. Contrary to the norms of the day, the artist's name also, did not feature alongside the caption.Abanindranath Tagore himself had thought of the painting's title as Banga Mata, literally meaning the Mother of Bengal. For the artist had based his representation on the common, everyday Bengali woman, and it was an ode to her. Yet the nationalist feelings that the painting evoked metamorphosed it Abanindranath's Banga Mata to Bharat Mata, a pan-Indian figure, inspiring people across the length and breadth of the nation.However, it was Sister Nivedita who rechristened the painting as Bharat Mata, noting down its iconography and politics of representation in detail. Nivedita was so enamoured by the painting that she wished to carry it from Kashmir to Kanyakumari to inspire the people in the mantra of Swadeshi. For her, the symbols and specifically the things the image holds, connotes clear nationalist meanings of strength and resistance.The Prabasi magazine had subsequently featured prints of similar maternal icons during this period of the Swadeshi. These included: a painting of St. Genevieve, the patron saint of Paris, painted by Pierre-Cécile Puvis de Chavannes, and a painting of Madonna, by Dagnan-Bouveret, the French naturalist painter. Dagnan-Bouveret's painting was also entitled Matrimurti. All these female icons and their paintings expressed a similar idea of purity, resistance and freedom embodied in the feminine figure of the mother. By labelling Abanindranath's painting as Bharat Mata, Nivedita brings it to the same level as that of the Christian female icons. Thus, she links Abanindranath's canvas with European art's convention of embodying the spirit of the country and patriotism in the figure of a mother. Through this she counters both the British and its colonial subjugation of India, and gives to the Indians a concrete mother figure with which they can relate, and associate their idea of the nation, and be inspired to participate in Swadeshi.Abanindranath Tagore's Bharat Mata, the DAG Museums note, is linked with the Swadeshi art and the rejuvenation of a Pan-Asian identity, aestheticism and idiom. However, when one looks at the gradual evolution of its etymological label, we see how it gets complicated as a piece of nationalist art.

George Curzon, 1st Marquess Curzon of Kedleston

A statue of Bharat Mata in [[Kanyakumari


A Dance to the Music of Time (painting)

Prompt: Focus on A Dance to the Music of Time (painting) and explain the abstract.

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: Explain the abstract of this artwork, A Dance to the Music of Time (painting).

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: How does A Dance to the Music of Time (painting) explain its abstract?

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: In A Dance to the Music of Time (painting), how is the abstract discussed?

A Dance to the Music of Time is a painting by Nicolas Poussin in the Wallace Collection in London. It was painted between c. 1634 and 1636 as a commission for Giulio Rospigliosi (later Pope Clement IX), who according to Gian Pietro Bellori dictated its detailed iconography. The identity of the figures remains uncertain, with differing accounts.The painting is well known for giving its name to the A Dance to the Music of Time novel cycle, though this title is first seen in a Wallace Collection catalogue of 1913. Before that it was given titles referring to the Four Seasons. In the 1845 sale it was called La Danse des Saisons, ou l'Image de la vie humaine. The Bibliothèque nationale de France lists it with three different French titles.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: Focus on A Dance to the Music of Time (painting) and explain the Description.

There are four figures, holding each other by the hand, dancing in a circle, as Time plays a lyre on the right.  The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, Labour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, Labour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure.  André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the Late Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair."  Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/Labour and Time.The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: Explain the Description of this artwork, A Dance to the Music of Time (painting).

There are four figures, holding each other by the hand, dancing in a circle, as Time plays a lyre on the right.  The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, Labour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, Labour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure.  André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the Late Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair."  Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/Labour and Time.The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: How does A Dance to the Music of Time (painting) explain its Description?

There are four figures, holding each other by the hand, dancing in a circle, as Time plays a lyre on the right.  The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, Labour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, Labour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure.  André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the Late Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair."  Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/Labour and Time.The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: In A Dance to the Music of Time (painting), how is the Description discussed?

There are four figures, holding each other by the hand, dancing in a circle, as Time plays a lyre on the right.  The scene is set in the early morning, with Aurora, goddess of dawn, preceding the chariot of Apollo the sun-god in the sky behind; the Hours accompany him and he holds a ring representing the Zodiac.According to Bellori, the subject was devised by Rospigliosi. The four dancers represented, beginning with the one at the back seen mostly from behind: Poverty, Labour, Riches, and Pleasure or Luxury. These represent a progression in human life, completed by Pleasure or Luxury leading to Poverty again. As the Four Seasons Poverty would be Autumn, Labour Winter, and so on. The suggestion of Anthony Blunt that, unusually for a group of the seasons, Autumn/Poverty at the rear of the group was male is now generally accepted, and the museum now describe him as Bacchus. This follows the story invented by Boitet de Frauville in his Les Dionysiaques that, responding to complaints from the Seasons and Time, Jupiter gave the world Bacchus and his wine in order to compensate for the miserable living conditions mortals must endure.  André Félibien, the friend and biographer of Poussin, explained the picture in the same terms, except that where Bellori identified Summer with Luxury, Félibien said that it represented Pleasure.These identifications are disputed by Malcolm Bull, at least as the original intention. He traces the iconography of the painting to the Late Greek poet Nonnus, reflected in the Hymne de l'Automme of Pierre de Ronsard. Nonnus' descriptions of the four seasons, as translated into French, are closely followed by Poussin: "on the left is Spring, with a garland of roses in her hair; at the back is Autumn, whose hair has been cropped by the winds but whose brow is wreathed with olive branches; Winter is next, with her bound hair and shadowed face, and at the front is Summer, dressed in white with ears of corn in the braids of her hair."  Bacchus himself appears, in his double aspect as a young and old figure, in the herma at left. Bull suggests that Rospigliosi, an intellectual and author with a taste for allegory, invented the other interpretation "during or after its completion", while Ingamells feels that "Poussin was not unduly concerned with the precise identification of the figures".There are several pentimenti, including the removal of a second, larger, tree on the right between Winter/Labour and Time.The painting is in generally good condition, but has been retouched in places, including over the repair of a large L-shaped tear running right through the central group.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: Focus on A Dance to the Music of Time (painting) and explain the Anthony Powell.

At the start of Anthony Powell's series of novels named after the painting, the narrator, Nicolas Jenkins, reflects on it in the first two pages of A Question of Upbringing:These classical projections, and something from the fire, suddenly suggested Poussin's scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outward like the Seasons, moving hand in hand in intricate measure, stepping slowly, methodically sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seemingly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: Explain the Anthony Powell of this artwork, A Dance to the Music of Time (painting).

At the start of Anthony Powell's series of novels named after the painting, the narrator, Nicolas Jenkins, reflects on it in the first two pages of A Question of Upbringing:These classical projections, and something from the fire, suddenly suggested Poussin's scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outward like the Seasons, moving hand in hand in intricate measure, stepping slowly, methodically sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seemingly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: How does A Dance to the Music of Time (painting) explain its Anthony Powell?

At the start of Anthony Powell's series of novels named after the painting, the narrator, Nicolas Jenkins, reflects on it in the first two pages of A Question of Upbringing:These classical projections, and something from the fire, suddenly suggested Poussin's scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outward like the Seasons, moving hand in hand in intricate measure, stepping slowly, methodically sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seemingly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: In A Dance to the Music of Time (painting), how is the Anthony Powell discussed?

At the start of Anthony Powell's series of novels named after the painting, the narrator, Nicolas Jenkins, reflects on it in the first two pages of A Question of Upbringing:These classical projections, and something from the fire, suddenly suggested Poussin's scene in which the Seasons, hand in hand and facing outward, tread in rhythm to the notes of the lyre that the winged and naked greybeard plays. The image of Time brought thoughts of mortality: of human beings, facing outward like the Seasons, moving hand in hand in intricate measure, stepping slowly, methodically sometimes a trifle awkwardly, in evolutions that take recognisable shape: or breaking into seemingly meaningless gyrations, while partners disappear only to reappear again, once more giving pattern to the spectacle: unable to control the melody, unable, perhaps, to control the steps of the dance.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin

Richard Seymour-Conway, 4th Marquess of Hertford

Art Treasures Exhibition, Manchester 1857


A Dance to the Music of Time (painting)

Prompt: Focus on A Dance to the Music of Time (painting) and explain the Provenance.

It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin


A Dance to the Music of Time (painting)

Prompt: Explain the Provenance of this artwork, A Dance to the Music of Time (painting).

It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin


A Dance to the Music of Time (painting)

Prompt: How does A Dance to the Music of Time (painting) explain its Provenance?

It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin


A Dance to the Music of Time (painting)

Prompt: In A Dance to the Music of Time (painting), how is the Provenance discussed?

It passed from the Rospigliosi family to the Joseph Fesch collection in 1806, when it was taken to France for a period. It was then bought, along with several other paintings, by Richard Seymour-Conway, 4th Marquess of Hertford, in the great Fesch sale in Rome in 1845. It then passed to his son, Sir Richard Wallace. It was exhibited in the Art Treasures Exhibition, Manchester 1857.

Category:Paintings in the Wallace Collection

Category:Mythological paintings by Nicolas Poussin


Tarot Garden

Prompt: Focus on Tarot Garden and explain the abstract.

The Tarot Garden (Italian: Il Giardino dei Tarocchi, French: Le Jardin des Tarots) is a sculpture garden based on the esoteric tarot, created by the French-American artist Niki de Saint Phalle (1930–2002) in Pescia Fiorentina, località Garavicchio, in the municipality of Capalbio, province of Grosseto, Tuscany, Italy. The park was opened to the public in 1998.Niki de Saint Phalle, inspired by Antoni Gaudí´s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia,  decided to make something similar in design for her monumental sculpture park based on the Tarot. In 1979, she acquired some land on top of an Etruscan ruin in Garavicchio, Tuscany, about 100 kilometres (62 mi) north-west of Rome along the coast. There she built the Giardino dei Tarocchi, containing twenty-two monumental figures representing her idea of the greater Mysteries of the Tarot, constructed of reinforced concrete and covered with mirrors and ceramic mosaic. Some of the larger sculptural figures can be walked through; the artist herself lived inside the sphinx-like Empress for several years during the construction of the garden.

File:Niki de saint-phalle, giardino dei tarocchi, imperatrice, interno, mosaico di specchi 02.JPG

File:Niki de Saint Phalle Imperatrice.JPG

File:Niki de saint-phalle, giardino dei tarocchi, ingresso 02.JPG

Category:Sculpture gardens, trails and parks in Europe


Tarot Garden

Prompt: Explain the abstract of this artwork, Tarot Garden.

The Tarot Garden (Italian: Il Giardino dei Tarocchi, French: Le Jardin des Tarots) is a sculpture garden based on the esoteric tarot, created by the French-American artist Niki de Saint Phalle (1930–2002) in Pescia Fiorentina, località Garavicchio, in the municipality of Capalbio, province of Grosseto, Tuscany, Italy. The park was opened to the public in 1998.Niki de Saint Phalle, inspired by Antoni Gaudí´s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia,  decided to make something similar in design for her monumental sculpture park based on the Tarot. In 1979, she acquired some land on top of an Etruscan ruin in Garavicchio, Tuscany, about 100 kilometres (62 mi) north-west of Rome along the coast. There she built the Giardino dei Tarocchi, containing twenty-two monumental figures representing her idea of the greater Mysteries of the Tarot, constructed of reinforced concrete and covered with mirrors and ceramic mosaic. Some of the larger sculptural figures can be walked through; the artist herself lived inside the sphinx-like Empress for several years during the construction of the garden.

File:Niki de saint-phalle, giardino dei tarocchi, imperatrice, interno, mosaico di specchi 02.JPG

File:Niki de Saint Phalle Imperatrice.JPG

File:Niki de saint-phalle, giardino dei tarocchi, ingresso 02.JPG

Category:Sculpture gardens, trails and parks in Europe


Tarot Garden

Prompt: How does Tarot Garden explain its abstract?

The Tarot Garden (Italian: Il Giardino dei Tarocchi, French: Le Jardin des Tarots) is a sculpture garden based on the esoteric tarot, created by the French-American artist Niki de Saint Phalle (1930–2002) in Pescia Fiorentina, località Garavicchio, in the municipality of Capalbio, province of Grosseto, Tuscany, Italy. The park was opened to the public in 1998.Niki de Saint Phalle, inspired by Antoni Gaudí´s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia,  decided to make something similar in design for her monumental sculpture park based on the Tarot. In 1979, she acquired some land on top of an Etruscan ruin in Garavicchio, Tuscany, about 100 kilometres (62 mi) north-west of Rome along the coast. There she built the Giardino dei Tarocchi, containing twenty-two monumental figures representing her idea of the greater Mysteries of the Tarot, constructed of reinforced concrete and covered with mirrors and ceramic mosaic. Some of the larger sculptural figures can be walked through; the artist herself lived inside the sphinx-like Empress for several years during the construction of the garden.

File:Niki de saint-phalle, giardino dei tarocchi, imperatrice, interno, mosaico di specchi 02.JPG

File:Niki de Saint Phalle Imperatrice.JPG

File:Niki de saint-phalle, giardino dei tarocchi, ingresso 02.JPG

Category:Sculpture gardens, trails and parks in Europe


Tarot Garden

Prompt: In Tarot Garden, how is the abstract discussed?

The Tarot Garden (Italian: Il Giardino dei Tarocchi, French: Le Jardin des Tarots) is a sculpture garden based on the esoteric tarot, created by the French-American artist Niki de Saint Phalle (1930–2002) in Pescia Fiorentina, località Garavicchio, in the municipality of Capalbio, province of Grosseto, Tuscany, Italy. The park was opened to the public in 1998.Niki de Saint Phalle, inspired by Antoni Gaudí´s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia,  decided to make something similar in design for her monumental sculpture park based on the Tarot. In 1979, she acquired some land on top of an Etruscan ruin in Garavicchio, Tuscany, about 100 kilometres (62 mi) north-west of Rome along the coast. There she built the Giardino dei Tarocchi, containing twenty-two monumental figures representing her idea of the greater Mysteries of the Tarot, constructed of reinforced concrete and covered with mirrors and ceramic mosaic. Some of the larger sculptural figures can be walked through; the artist herself lived inside the sphinx-like Empress for several years during the construction of the garden.

File:Niki de saint-phalle, giardino dei tarocchi, imperatrice, interno, mosaico di specchi 02.JPG

File:Niki de Saint Phalle Imperatrice.JPG

File:Niki de saint-phalle, giardino dei tarocchi, ingresso 02.JPG

Category:Sculpture gardens, trails and parks in Europe


Tarot Garden

Prompt: Focus on Tarot Garden and explain the Selected publications.

Niki de Saint Phalle, Giulio Pietrocharchi: The Tarot Garden: The Tarot Garden. Benteli Zurich 1997, ISBN 978-3716510926.Niki de Saint Phalle: The Tarot Garden: Giardino Del Tarrochi. Edizioni Charta, Milano 1997, ISBN 978-8881581672.Carla Schulz Hoffman: Niki de Saint Phalle. Bilder-Figuren-Phantastische Garten. Prestel, Bonn 2008, ISBN 978-3791339832.Philip Carr-Gomm: Sacred Places. Quercus Publishing, London 2008, ISBN 978-0857383440.Jill Johnston, Marella Caracciolo Chia, Giulio Pietromarchi: Niki de Saint Phalle and The Tarot Garden. Benteli, Zurich 2010, ISBN 978-3716515372.

File:Niki de saint-phalle, giardino dei tarocchi, imperatrice, interno, mosaico di specchi 02.JPG

File:Niki de Saint Phalle Imperatrice.JPG

File:Niki de saint-phalle, giardino dei tarocchi, ingresso 02.JPG

Category:Sculpture gardens, trails and parks in Europe


Tarot Garden

Prompt: Explain the Selected publications of this artwork, Tarot Garden.

Niki de Saint Phalle, Giulio Pietrocharchi: The Tarot Garden: The Tarot Garden. Benteli Zurich 1997, ISBN 978-3716510926.Niki de Saint Phalle: The Tarot Garden: Giardino Del Tarrochi. Edizioni Charta, Milano 1997, ISBN 978-8881581672.Carla Schulz Hoffman: Niki de Saint Phalle. Bilder-Figuren-Phantastische Garten. Prestel, Bonn 2008, ISBN 978-3791339832.Philip Carr-Gomm: Sacred Places. Quercus Publishing, London 2008, ISBN 978-0857383440.Jill Johnston, Marella Caracciolo Chia, Giulio Pietromarchi: Niki de Saint Phalle and The Tarot Garden. Benteli, Zurich 2010, ISBN 978-3716515372.

File:Niki de saint-phalle, giardino dei tarocchi, imperatrice, interno, mosaico di specchi 02.JPG

File:Niki de Saint Phalle Imperatrice.JPG

File:Niki de saint-phalle, giardino dei tarocchi, ingresso 02.JPG

Category:Sculpture gardens, trails and parks in Europe


Tarot Garden

Prompt: How does Tarot Garden explain its Selected publications?

Niki de Saint Phalle, Giulio Pietrocharchi: The Tarot Garden: The Tarot Garden. Benteli Zurich 1997, ISBN 978-3716510926.Niki de Saint Phalle: The Tarot Garden: Giardino Del Tarrochi. Edizioni Charta, Milano 1997, ISBN 978-8881581672.Carla Schulz Hoffman: Niki de Saint Phalle. Bilder-Figuren-Phantastische Garten. Prestel, Bonn 2008, ISBN 978-3791339832.Philip Carr-Gomm: Sacred Places. Quercus Publishing, London 2008, ISBN 978-0857383440.Jill Johnston, Marella Caracciolo Chia, Giulio Pietromarchi: Niki de Saint Phalle and The Tarot Garden. Benteli, Zurich 2010, ISBN 978-3716515372.

File:Niki de saint-phalle, giardino dei tarocchi, imperatrice, interno, mosaico di specchi 02.JPG

File:Niki de Saint Phalle Imperatrice.JPG

File:Niki de saint-phalle, giardino dei tarocchi, ingresso 02.JPG

Category:Sculpture gardens, trails and parks in Europe


Tarot Garden

Prompt: In Tarot Garden, how is the Selected publications discussed?

Niki de Saint Phalle, Giulio Pietrocharchi: The Tarot Garden: The Tarot Garden. Benteli Zurich 1997, ISBN 978-3716510926.Niki de Saint Phalle: The Tarot Garden: Giardino Del Tarrochi. Edizioni Charta, Milano 1997, ISBN 978-8881581672.Carla Schulz Hoffman: Niki de Saint Phalle. Bilder-Figuren-Phantastische Garten. Prestel, Bonn 2008, ISBN 978-3791339832.Philip Carr-Gomm: Sacred Places. Quercus Publishing, London 2008, ISBN 978-0857383440.Jill Johnston, Marella Caracciolo Chia, Giulio Pietromarchi: Niki de Saint Phalle and The Tarot Garden. Benteli, Zurich 2010, ISBN 978-3716515372.

File:Niki de saint-phalle, giardino dei tarocchi, imperatrice, interno, mosaico di specchi 02.JPG

File:Niki de Saint Phalle Imperatrice.JPG

File:Niki de saint-phalle, giardino dei tarocchi, ingresso 02.JPG

Category:Sculpture gardens, trails and parks in Europe


The Red Vineyard

Prompt: Focus on The Red Vineyard and explain the abstract.

The Red Vineyards near Arles is an oil painting by the Dutch painter Vincent van Gogh, executed on a privately primed Toile de 30 piece of burlap in early November 1888.  It depicts workers in a vineyard, and it is the only painting known by name that Van Gogh sold in his lifetime.

Portraits by Vincent van Gogh#The Poet: Eugène Boch

Category:Paintings in the Pushkin Museum

Category:Paintings of Arles by Vincent van Gogh

Vincent van Gogh's display at Les XX, 1890


The Red Vineyard

Prompt: Explain the abstract of this artwork, The Red Vineyard.

The Red Vineyards near Arles is an oil painting by the Dutch painter Vincent van Gogh, executed on a privately primed Toile de 30 piece of burlap in early November 1888.  It depicts workers in a vineyard, and it is the only painting known by name that Van Gogh sold in his lifetime.

Portraits by Vincent van Gogh#The Poet: Eugène Boch

Category:Paintings in the Pushkin Museum

Category:Paintings of Arles by Vincent van Gogh

Vincent van Gogh's display at Les XX, 1890


The Red Vineyard

Prompt: How does The Red Vineyard explain its abstract?

The Red Vineyards near Arles is an oil painting by the Dutch painter Vincent van Gogh, executed on a privately primed Toile de 30 piece of burlap in early November 1888.  It depicts workers in a vineyard, and it is the only painting known by name that Van Gogh sold in his lifetime.

Portraits by Vincent van Gogh#The Poet: Eugène Boch

Category:Paintings in the Pushkin Museum

Category:Paintings of Arles by Vincent van Gogh

Vincent van Gogh's display at Les XX, 1890


The Red Vineyard

Prompt: In The Red Vineyard, how is the abstract discussed?

The Red Vineyards near Arles is an oil painting by the Dutch painter Vincent van Gogh, executed on a privately primed Toile de 30 piece of burlap in early November 1888.  It depicts workers in a vineyard, and it is the only painting known by name that Van Gogh sold in his lifetime.

Portraits by Vincent van Gogh#The Poet: Eugène Boch

Category:Paintings in the Pushkin Museum

Category:Paintings of Arles by Vincent van Gogh

Vincent van Gogh's display at Les XX, 1890


The Red Vineyard

Prompt: Focus on The Red Vineyard and explain the History.

The Red Vineyard was exhibited for the first time at the annual exhibition of Les XX, 1890, in Brussels, and sold for 400 francs to Belgian painter and collector Anna Boch, a member of Les XX. Anna was the sister of Eugène Boch, another impressionist painter and a friend of Van Gogh, whose portrait Van Gogh painted (Le Peintre aux Étoiles) in Arles in autumn 1888. In a later letter to his brother Theo discussing the sale, Van Gogh admitted with some embarrassment that the Bochs paid the Les XX 1890 Exhibition sticker price, when in fact they probably should have gotten a "friend's price".The painting was later purchased, in 1909, from a Paris art gallery by Ivan Morozov. After the Russian Revolution, the painting was subsequently nationalised by the Bolsheviks and was eventually passed to Moscow's Pushkin State Museum of Fine Arts, where it resides today.

Portraits by Vincent van Gogh#The Poet: Eugène Boch

Category:Paintings in the Pushkin Museum

Category:Paintings of Arles by Vincent van Gogh

Vincent van Gogh's display at Les XX, 1890


The Red Vineyard

Prompt: Explain the History of this artwork, The Red Vineyard.

The Red Vineyard was exhibited for the first time at the annual exhibition of Les XX, 1890, in Brussels, and sold for 400 francs to Belgian painter and collector Anna Boch, a member of Les XX. Anna was the sister of Eugène Boch, another impressionist painter and a friend of Van Gogh, whose portrait Van Gogh painted (Le Peintre aux Étoiles) in Arles in autumn 1888. In a later letter to his brother Theo discussing the sale, Van Gogh admitted with some embarrassment that the Bochs paid the Les XX 1890 Exhibition sticker price, when in fact they probably should have gotten a "friend's price".The painting was later purchased, in 1909, from a Paris art gallery by Ivan Morozov. After the Russian Revolution, the painting was subsequently nationalised by the Bolsheviks and was eventually passed to Moscow's Pushkin State Museum of Fine Arts, where it resides today.

Portraits by Vincent van Gogh#The Poet: Eugène Boch

Category:Paintings in the Pushkin Museum

Category:Paintings of Arles by Vincent van Gogh

Vincent van Gogh's display at Les XX, 1890


The Red Vineyard

Prompt: How does The Red Vineyard explain its History?

The Red Vineyard was exhibited for the first time at the annual exhibition of Les XX, 1890, in Brussels, and sold for 400 francs to Belgian painter and collector Anna Boch, a member of Les XX. Anna was the sister of Eugène Boch, another impressionist painter and a friend of Van Gogh, whose portrait Van Gogh painted (Le Peintre aux Étoiles) in Arles in autumn 1888. In a later letter to his brother Theo discussing the sale, Van Gogh admitted with some embarrassment that the Bochs paid the Les XX 1890 Exhibition sticker price, when in fact they probably should have gotten a "friend's price".The painting was later purchased, in 1909, from a Paris art gallery by Ivan Morozov. After the Russian Revolution, the painting was subsequently nationalised by the Bolsheviks and was eventually passed to Moscow's Pushkin State Museum of Fine Arts, where it resides today.

Portraits by Vincent van Gogh#The Poet: Eugène Boch

Category:Paintings in the Pushkin Museum

Category:Paintings of Arles by Vincent van Gogh

Vincent van Gogh's display at Les XX, 1890


The Red Vineyard

Prompt: In The Red Vineyard, how is the History discussed?

The Red Vineyard was exhibited for the first time at the annual exhibition of Les XX, 1890, in Brussels, and sold for 400 francs to Belgian painter and collector Anna Boch, a member of Les XX. Anna was the sister of Eugène Boch, another impressionist painter and a friend of Van Gogh, whose portrait Van Gogh painted (Le Peintre aux Étoiles) in Arles in autumn 1888. In a later letter to his brother Theo discussing the sale, Van Gogh admitted with some embarrassment that the Bochs paid the Les XX 1890 Exhibition sticker price, when in fact they probably should have gotten a "friend's price".The painting was later purchased, in 1909, from a Paris art gallery by Ivan Morozov. After the Russian Revolution, the painting was subsequently nationalised by the Bolsheviks and was eventually passed to Moscow's Pushkin State Museum of Fine Arts, where it resides today.

Portraits by Vincent van Gogh#The Poet: Eugène Boch

Category:Paintings in the Pushkin Museum

Category:Paintings of Arles by Vincent van Gogh

Vincent van Gogh's display at Les XX, 1890


Fêtes Vénitiennes

Prompt: Focus on Fêtes Vénitiennes and explain the abstract.

Fêtes Vénitiennes is a 1719 painting by Antoine Watteau, now in the Scottish National Gallery in Edinburgh, to which it was bequeathed in 1861 by Lady Murray of Henderland, widow of John Murray, Lord Murray. It takes its title from a 1732 engraving of the work by Laurent Cars and is derived from the Venetian styles of dress and dancing shown in the work, the former inspired by the commedia dell'arte. It belongs to the fêtes galantes genre created by Watteau.The main dancer in the centre was thought to be the Comédie-Française actress Charlotte Desmares, a mistress of the Duc d'Orleans, whilst some identify the dancer in the black hat as the Flemish painter Nicolas Vleughels, a friend of Watteau. These two dancers are shown dancing a minuet, with other figures sitting in the background. These include a man courting a woman, two women talking to an actor and a presumed self-portrait of the painter as a musician holding a set of bagpipes – these had had a sexual symbolism since the Middle Ages, such as in Hieronymus Bosch's The Garden of Earthly Delights. Behind this seated group are two more people and a fountain.

Category:Paintings in National Galleries Scotland


Fêtes Vénitiennes

Prompt: Explain the abstract of this artwork, Fêtes Vénitiennes.

Fêtes Vénitiennes is a 1719 painting by Antoine Watteau, now in the Scottish National Gallery in Edinburgh, to which it was bequeathed in 1861 by Lady Murray of Henderland, widow of John Murray, Lord Murray. It takes its title from a 1732 engraving of the work by Laurent Cars and is derived from the Venetian styles of dress and dancing shown in the work, the former inspired by the commedia dell'arte. It belongs to the fêtes galantes genre created by Watteau.The main dancer in the centre was thought to be the Comédie-Française actress Charlotte Desmares, a mistress of the Duc d'Orleans, whilst some identify the dancer in the black hat as the Flemish painter Nicolas Vleughels, a friend of Watteau. These two dancers are shown dancing a minuet, with other figures sitting in the background. These include a man courting a woman, two women talking to an actor and a presumed self-portrait of the painter as a musician holding a set of bagpipes – these had had a sexual symbolism since the Middle Ages, such as in Hieronymus Bosch's The Garden of Earthly Delights. Behind this seated group are two more people and a fountain.

Category:Paintings in National Galleries Scotland


Fêtes Vénitiennes

Prompt: How does Fêtes Vénitiennes explain its abstract?

Fêtes Vénitiennes is a 1719 painting by Antoine Watteau, now in the Scottish National Gallery in Edinburgh, to which it was bequeathed in 1861 by Lady Murray of Henderland, widow of John Murray, Lord Murray. It takes its title from a 1732 engraving of the work by Laurent Cars and is derived from the Venetian styles of dress and dancing shown in the work, the former inspired by the commedia dell'arte. It belongs to the fêtes galantes genre created by Watteau.The main dancer in the centre was thought to be the Comédie-Française actress Charlotte Desmares, a mistress of the Duc d'Orleans, whilst some identify the dancer in the black hat as the Flemish painter Nicolas Vleughels, a friend of Watteau. These two dancers are shown dancing a minuet, with other figures sitting in the background. These include a man courting a woman, two women talking to an actor and a presumed self-portrait of the painter as a musician holding a set of bagpipes – these had had a sexual symbolism since the Middle Ages, such as in Hieronymus Bosch's The Garden of Earthly Delights. Behind this seated group are two more people and a fountain.

Category:Paintings in National Galleries Scotland


Fêtes Vénitiennes

Prompt: In Fêtes Vénitiennes, how is the abstract discussed?

Fêtes Vénitiennes is a 1719 painting by Antoine Watteau, now in the Scottish National Gallery in Edinburgh, to which it was bequeathed in 1861 by Lady Murray of Henderland, widow of John Murray, Lord Murray. It takes its title from a 1732 engraving of the work by Laurent Cars and is derived from the Venetian styles of dress and dancing shown in the work, the former inspired by the commedia dell'arte. It belongs to the fêtes galantes genre created by Watteau.The main dancer in the centre was thought to be the Comédie-Française actress Charlotte Desmares, a mistress of the Duc d'Orleans, whilst some identify the dancer in the black hat as the Flemish painter Nicolas Vleughels, a friend of Watteau. These two dancers are shown dancing a minuet, with other figures sitting in the background. These include a man courting a woman, two women talking to an actor and a presumed self-portrait of the painter as a musician holding a set of bagpipes – these had had a sexual symbolism since the Middle Ages, such as in Hieronymus Bosch's The Garden of Earthly Delights. Behind this seated group are two more people and a fountain.

Category:Paintings in National Galleries Scotland


Fêtes Vénitiennes

Prompt: Focus on Fêtes Vénitiennes and explain the Description.

The main dancer who occupies the center of the painting would be the actress Christine Charlotte Desmares, who was the lover of the Duke of Orleans, with whom she had had, in 1702, a bastard daughter, Angélique de Froissy.The dancer in the black hat facing her has been identified as Nicolas Vleughels, Flemish painter, friend and owner of Watteau, who rose to the rank of director of the Academy of Rome (1725–36). His clothing seems humorous and is perhaps inspired by Italian comedians, which would explain the title distributed by the engraver Laurent Cars.Behind this couple dancing the minuet, sit a whole series of participants. The painter himself represented himself seated, as a musician holding a kind of bagpipe, also called a musette. Since the Middle Ages, the bagpipe was recognized as an instrument of sexual symbolism; Jêrome Bosch included it as such in his famous triptych of the Garden of Earthly Delights. Another cavalier is courting a lady and two other ladies are talking to an actor. Behind, we see another couple, standing in front of a fountain.Watteau treats various materials in a similar way, both taffeta and water, people and statues, foliage and curls, thus succeeding in giving unity to the painting.

Category:Paintings in National Galleries Scotland


Fêtes Vénitiennes

Prompt: Explain the Description of this artwork, Fêtes Vénitiennes.

The main dancer who occupies the center of the painting would be the actress Christine Charlotte Desmares, who was the lover of the Duke of Orleans, with whom she had had, in 1702, a bastard daughter, Angélique de Froissy.The dancer in the black hat facing her has been identified as Nicolas Vleughels, Flemish painter, friend and owner of Watteau, who rose to the rank of director of the Academy of Rome (1725–36). His clothing seems humorous and is perhaps inspired by Italian comedians, which would explain the title distributed by the engraver Laurent Cars.Behind this couple dancing the minuet, sit a whole series of participants. The painter himself represented himself seated, as a musician holding a kind of bagpipe, also called a musette. Since the Middle Ages, the bagpipe was recognized as an instrument of sexual symbolism; Jêrome Bosch included it as such in his famous triptych of the Garden of Earthly Delights. Another cavalier is courting a lady and two other ladies are talking to an actor. Behind, we see another couple, standing in front of a fountain.Watteau treats various materials in a similar way, both taffeta and water, people and statues, foliage and curls, thus succeeding in giving unity to the painting.

Category:Paintings in National Galleries Scotland


Fêtes Vénitiennes

Prompt: How does Fêtes Vénitiennes explain its Description?

The main dancer who occupies the center of the painting would be the actress Christine Charlotte Desmares, who was the lover of the Duke of Orleans, with whom she had had, in 1702, a bastard daughter, Angélique de Froissy.The dancer in the black hat facing her has been identified as Nicolas Vleughels, Flemish painter, friend and owner of Watteau, who rose to the rank of director of the Academy of Rome (1725–36). His clothing seems humorous and is perhaps inspired by Italian comedians, which would explain the title distributed by the engraver Laurent Cars.Behind this couple dancing the minuet, sit a whole series of participants. The painter himself represented himself seated, as a musician holding a kind of bagpipe, also called a musette. Since the Middle Ages, the bagpipe was recognized as an instrument of sexual symbolism; Jêrome Bosch included it as such in his famous triptych of the Garden of Earthly Delights. Another cavalier is courting a lady and two other ladies are talking to an actor. Behind, we see another couple, standing in front of a fountain.Watteau treats various materials in a similar way, both taffeta and water, people and statues, foliage and curls, thus succeeding in giving unity to the painting.

Category:Paintings in National Galleries Scotland


Fêtes Vénitiennes

Prompt: In Fêtes Vénitiennes, how is the Description discussed?

The main dancer who occupies the center of the painting would be the actress Christine Charlotte Desmares, who was the lover of the Duke of Orleans, with whom she had had, in 1702, a bastard daughter, Angélique de Froissy.The dancer in the black hat facing her has been identified as Nicolas Vleughels, Flemish painter, friend and owner of Watteau, who rose to the rank of director of the Academy of Rome (1725–36). His clothing seems humorous and is perhaps inspired by Italian comedians, which would explain the title distributed by the engraver Laurent Cars.Behind this couple dancing the minuet, sit a whole series of participants. The painter himself represented himself seated, as a musician holding a kind of bagpipe, also called a musette. Since the Middle Ages, the bagpipe was recognized as an instrument of sexual symbolism; Jêrome Bosch included it as such in his famous triptych of the Garden of Earthly Delights. Another cavalier is courting a lady and two other ladies are talking to an actor. Behind, we see another couple, standing in front of a fountain.Watteau treats various materials in a similar way, both taffeta and water, people and statues, foliage and curls, thus succeeding in giving unity to the painting.

Category:Paintings in National Galleries Scotland


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

Sir Nicholas Serota Makes an Acquisitions Decision is one of the paintings that was made as a part of the Stuckism art movement, and is recognized as a "signature piece" for the movement. It was painted in 2000 by the Stuckism co-founder Charles Thomson, and has been exhibited in a number of shows since, as well as being featured on placards during Stuckist demonstrations against the Turner Prize.It depicts Sir Nicholas Serota, Director of the Tate Gallery, and chairman of the Turner Prize jury. "Emin" satirises Young British Artist Tracey Emin's installation My Bed, consisting of her bed and objects, including knickers, which she exhibited in 1999 as a Turner Prize nominee.

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art


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

Sir Nicholas Serota Makes an Acquisitions Decision is one of the paintings that was made as a part of the Stuckism art movement, and is recognized as a "signature piece" for the movement. It was painted in 2000 by the Stuckism co-founder Charles Thomson, and has been exhibited in a number of shows since, as well as being featured on placards during Stuckist demonstrations against the Turner Prize.It depicts Sir Nicholas Serota, Director of the Tate Gallery, and chairman of the Turner Prize jury. "Emin" satirises Young British Artist Tracey Emin's installation My Bed, consisting of her bed and objects, including knickers, which she exhibited in 1999 as a Turner Prize nominee.

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art


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

Sir Nicholas Serota Makes an Acquisitions Decision is one of the paintings that was made as a part of the Stuckism art movement, and is recognized as a "signature piece" for the movement. It was painted in 2000 by the Stuckism co-founder Charles Thomson, and has been exhibited in a number of shows since, as well as being featured on placards during Stuckist demonstrations against the Turner Prize.It depicts Sir Nicholas Serota, Director of the Tate Gallery, and chairman of the Turner Prize jury. "Emin" satirises Young British Artist Tracey Emin's installation My Bed, consisting of her bed and objects, including knickers, which she exhibited in 1999 as a Turner Prize nominee.

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art


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

Sir Nicholas Serota Makes an Acquisitions Decision is one of the paintings that was made as a part of the Stuckism art movement, and is recognized as a "signature piece" for the movement. It was painted in 2000 by the Stuckism co-founder Charles Thomson, and has been exhibited in a number of shows since, as well as being featured on placards during Stuckist demonstrations against the Turner Prize.It depicts Sir Nicholas Serota, Director of the Tate Gallery, and chairman of the Turner Prize jury. "Emin" satirises Young British Artist Tracey Emin's installation My Bed, consisting of her bed and objects, including knickers, which she exhibited in 1999 as a Turner Prize nominee.

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art


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

In 1999, Thomson was the co-founder, with Billy Childish of the Stuckism art group, which set out to promote figurative painting, in opposition to conceptual art, which they identified with the Turner Prize (whose jury chairman was Sir Nicholas Serota) and the Young British Artists, of which Tracey Emin (who had once been in a relationship with Childish) was a leading representative.Thomson's painting shows Serota, the director of the Tate gallery. He is smiling behind a large pair of red knickers on a washing line, saying "is it a genuine Emin (£10,000)" and thinking, "or a worthless fake?". This is a reference to Tracey Emin's My Bed, literally a display of her (dishevelled) bed with detritus which included a pair of her knickers, shown in the 1999 Turner Prize at Tate Britain.  The image was painted over a few days and in a final 24-hour non-stop stint.

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art


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

In 1999, Thomson was the co-founder, with Billy Childish of the Stuckism art group, which set out to promote figurative painting, in opposition to conceptual art, which they identified with the Turner Prize (whose jury chairman was Sir Nicholas Serota) and the Young British Artists, of which Tracey Emin (who had once been in a relationship with Childish) was a leading representative.Thomson's painting shows Serota, the director of the Tate gallery. He is smiling behind a large pair of red knickers on a washing line, saying "is it a genuine Emin (£10,000)" and thinking, "or a worthless fake?". This is a reference to Tracey Emin's My Bed, literally a display of her (dishevelled) bed with detritus which included a pair of her knickers, shown in the 1999 Turner Prize at Tate Britain.  The image was painted over a few days and in a final 24-hour non-stop stint.

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art


Prompt: How does Sir Nicholas Serota Makes an Acquisitions Decision explain its Background and description?

In 1999, Thomson was the co-founder, with Billy Childish of the Stuckism art group, which set out to promote figurative painting, in opposition to conceptual art, which they identified with the Turner Prize (whose jury chairman was Sir Nicholas Serota) and the Young British Artists, of which Tracey Emin (who had once been in a relationship with Childish) was a leading representative.Thomson's painting shows Serota, the director of the Tate gallery. He is smiling behind a large pair of red knickers on a washing line, saying "is it a genuine Emin (£10,000)" and thinking, "or a worthless fake?". This is a reference to Tracey Emin's My Bed, literally a display of her (dishevelled) bed with detritus which included a pair of her knickers, shown in the 1999 Turner Prize at Tate Britain.  The image was painted over a few days and in a final 24-hour non-stop stint.

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art


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

In 1999, Thomson was the co-founder, with Billy Childish of the Stuckism art group, which set out to promote figurative painting, in opposition to conceptual art, which they identified with the Turner Prize (whose jury chairman was Sir Nicholas Serota) and the Young British Artists, of which Tracey Emin (who had once been in a relationship with Childish) was a leading representative.Thomson's painting shows Serota, the director of the Tate gallery. He is smiling behind a large pair of red knickers on a washing line, saying "is it a genuine Emin (£10,000)" and thinking, "or a worthless fake?". This is a reference to Tracey Emin's My Bed, literally a display of her (dishevelled) bed with detritus which included a pair of her knickers, shown in the 1999 Turner Prize at Tate Britain.  The image was painted over a few days and in a final 24-hour non-stop stint.

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art


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

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

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art


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

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

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

File:2000 The Resignation of Sir Nicholas Serota.jpg

Stuckist protest against the [[Turner Prize

Secretary of State for Culture, Media and Sport

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

Charity Commission for England and Wales

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

Category:English contemporary works of art