Mammon (painting)

Prompt: Explain the Reception and legacy of this artwork, Mammon (painting).

Mammon was first exhibited in 1885, under the title of Mammon. Dedicated to his Worshippers. The catalogue accompanying this exhibition described this unusual title as "righteously scornful". Aside from an oil sketch now in the Watts Gallery, only one completed version of Mammon was made. This was among a number of paintings donated by Watts to the South Kensington Museum (now the Victoria and Albert Museum) in late 1886. In 1897 it was one of the 17 Watts works transferred to the newly created Tate Gallery (commonly known as the Tate Gallery, now Tate Britain); at the time, Watts was so highly regarded that an entire room of the new museum was dedicated to his works.Although rarely exhibited outside the Tate Gallery, cheap photographic reproductions of Mammon made by Frederick Hollyer circulated widely, making it one of Watts's better-known paintings. In 1887 it was one of the paintings discussed by Scottish theologian P. T. Forsyth in his series of lectures on "Religion in Recent Art". Forsyth considered Mammon a companion to Watts's 1885 Hope, arguing that both depicted false gods and the perils awaiting those who attempted to follow them in the absence of faith. By 1904 the image was well-enough known that the Daily Express reproduced the head of Mammon alongside that of John D. Rockefeller, a person of whom the newspaper greatly disapproved, implicitly inviting readers to draw comparisons.Watts returned to the theme of greed in Progress (1902–1904), one of his final works. This shows the figure of Mammon as one of three figures representing what Watts called "non-progress"; academia, wealth and laziness, oblivious to the emergence of Progress on horseback behind them. The central figure was described by Watts as "money grubbing"; as with Mammon and many of his other works, Watts aimed to show spiritual and material values as inherently contradictory.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: How does Mammon (painting) explain its Reception and legacy?

Mammon was first exhibited in 1885, under the title of Mammon. Dedicated to his Worshippers. The catalogue accompanying this exhibition described this unusual title as "righteously scornful". Aside from an oil sketch now in the Watts Gallery, only one completed version of Mammon was made. This was among a number of paintings donated by Watts to the South Kensington Museum (now the Victoria and Albert Museum) in late 1886. In 1897 it was one of the 17 Watts works transferred to the newly created Tate Gallery (commonly known as the Tate Gallery, now Tate Britain); at the time, Watts was so highly regarded that an entire room of the new museum was dedicated to his works.Although rarely exhibited outside the Tate Gallery, cheap photographic reproductions of Mammon made by Frederick Hollyer circulated widely, making it one of Watts's better-known paintings. In 1887 it was one of the paintings discussed by Scottish theologian P. T. Forsyth in his series of lectures on "Religion in Recent Art". Forsyth considered Mammon a companion to Watts's 1885 Hope, arguing that both depicted false gods and the perils awaiting those who attempted to follow them in the absence of faith. By 1904 the image was well-enough known that the Daily Express reproduced the head of Mammon alongside that of John D. Rockefeller, a person of whom the newspaper greatly disapproved, implicitly inviting readers to draw comparisons.Watts returned to the theme of greed in Progress (1902–1904), one of his final works. This shows the figure of Mammon as one of three figures representing what Watts called "non-progress"; academia, wealth and laziness, oblivious to the emergence of Progress on horseback behind them. The central figure was described by Watts as "money grubbing"; as with Mammon and many of his other works, Watts aimed to show spiritual and material values as inherently contradictory.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


Mammon (painting)

Prompt: In Mammon (painting), how is the Reception and legacy discussed?

Mammon was first exhibited in 1885, under the title of Mammon. Dedicated to his Worshippers. The catalogue accompanying this exhibition described this unusual title as "righteously scornful". Aside from an oil sketch now in the Watts Gallery, only one completed version of Mammon was made. This was among a number of paintings donated by Watts to the South Kensington Museum (now the Victoria and Albert Museum) in late 1886. In 1897 it was one of the 17 Watts works transferred to the newly created Tate Gallery (commonly known as the Tate Gallery, now Tate Britain); at the time, Watts was so highly regarded that an entire room of the new museum was dedicated to his works.Although rarely exhibited outside the Tate Gallery, cheap photographic reproductions of Mammon made by Frederick Hollyer circulated widely, making it one of Watts's better-known paintings. In 1887 it was one of the paintings discussed by Scottish theologian P. T. Forsyth in his series of lectures on "Religion in Recent Art". Forsyth considered Mammon a companion to Watts's 1885 Hope, arguing that both depicted false gods and the perils awaiting those who attempted to follow them in the absence of faith. By 1904 the image was well-enough known that the Daily Express reproduced the head of Mammon alongside that of John D. Rockefeller, a person of whom the newspaper greatly disapproved, implicitly inviting readers to draw comparisons.Watts returned to the theme of greed in Progress (1902–1904), one of his final works. This shows the figure of Mammon as one of three figures representing what Watts called "non-progress"; academia, wealth and laziness, oblivious to the emergence of Progress on horseback behind them. The central figure was described by Watts as "money grubbing"; as with Mammon and many of his other works, Watts aimed to show spiritual and material values as inherently contradictory.

Category:Paintings by George Frederic Watts

Category:Works based on The Faerie Queene

category:Allegorical paintings by English artists

File:Assistants and George Frederic Watts - Hope - Google Art Project.jpg

Watts's ''The Wife of Plutus'' also depicted the corrupting influence of wealth.

alt=horseman brandishing a bow rides behind three crouched figures

File:George Frederic Watts by Henry Herschel Hay Cameron.jpg

File:Watts – Progress (Watts Gallery version).jpg

alt=topless bare-breasted woman holding jewels

Category:Paintings in the Tate galleries


The Field Next to the Other Road

Prompt: Focus on The Field Next to the Other Road and explain the abstract.

The Field Next to the Other Road is a 1981 painting created by American artist Jean-Michel Basquiat. It sold for $37.1 million at Christie's in May 2015.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: Explain the abstract of this artwork, The Field Next to the Other Road.

The Field Next to the Other Road is a 1981 painting created by American artist Jean-Michel Basquiat. It sold for $37.1 million at Christie's in May 2015.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: How does The Field Next to the Other Road explain its abstract?

The Field Next to the Other Road is a 1981 painting created by American artist Jean-Michel Basquiat. It sold for $37.1 million at Christie's in May 2015.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: In The Field Next to the Other Road, how is the abstract discussed?

The Field Next to the Other Road is a 1981 painting created by American artist Jean-Michel Basquiat. It sold for $37.1 million at Christie's in May 2015.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: Focus on The Field Next to the Other Road and explain the History.

The Field Next to the Other Road was executed in 1981, an important year in Basquiat's career, in which he made the transition from a street artist to an established gallery artist in New York's downtown art scene. Basquiat was invited to Modena, Italy by art dealer Emilio Mazzoli after he saw his work at New York's MoMA PS1 in February 1981. In Modena, Basquiat commenced a series of paintings for his first solo exhibition at Galleria d'Arte Emilio Mazzoli in May 1981. Among the paintings created was The Field Next to the Other Road, a depiction of skeletal man walking a cow.In May 2015, the painting sold for $37.1 million at Christie's Post-War and Contemporary Art Evening Sale in New York. In December 2015, the painting was still owned by the consignor, art dealer Tony Shafrazi. In February 2016, Christie's sued art dealer Jose Mugrabi, and Mugrabi family firm, the Jombihis Corporation, for $32.1 million (plus interest and fees). Jose Mugrabi had bid on a client's behalf when he won the painting, but the client backed out of the sale and the Mugrabis missed two deadlines to pay the remaining balance. Christie's and the Mugrabis reached an amicable settlement in March 2016—with Mugrabi taking ownership of the painting and agreeing to pay his bill in full.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: Explain the History of this artwork, The Field Next to the Other Road.

The Field Next to the Other Road was executed in 1981, an important year in Basquiat's career, in which he made the transition from a street artist to an established gallery artist in New York's downtown art scene. Basquiat was invited to Modena, Italy by art dealer Emilio Mazzoli after he saw his work at New York's MoMA PS1 in February 1981. In Modena, Basquiat commenced a series of paintings for his first solo exhibition at Galleria d'Arte Emilio Mazzoli in May 1981. Among the paintings created was The Field Next to the Other Road, a depiction of skeletal man walking a cow.In May 2015, the painting sold for $37.1 million at Christie's Post-War and Contemporary Art Evening Sale in New York. In December 2015, the painting was still owned by the consignor, art dealer Tony Shafrazi. In February 2016, Christie's sued art dealer Jose Mugrabi, and Mugrabi family firm, the Jombihis Corporation, for $32.1 million (plus interest and fees). Jose Mugrabi had bid on a client's behalf when he won the painting, but the client backed out of the sale and the Mugrabis missed two deadlines to pay the remaining balance. Christie's and the Mugrabis reached an amicable settlement in March 2016—with Mugrabi taking ownership of the painting and agreeing to pay his bill in full.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: How does The Field Next to the Other Road explain its History?

The Field Next to the Other Road was executed in 1981, an important year in Basquiat's career, in which he made the transition from a street artist to an established gallery artist in New York's downtown art scene. Basquiat was invited to Modena, Italy by art dealer Emilio Mazzoli after he saw his work at New York's MoMA PS1 in February 1981. In Modena, Basquiat commenced a series of paintings for his first solo exhibition at Galleria d'Arte Emilio Mazzoli in May 1981. Among the paintings created was The Field Next to the Other Road, a depiction of skeletal man walking a cow.In May 2015, the painting sold for $37.1 million at Christie's Post-War and Contemporary Art Evening Sale in New York. In December 2015, the painting was still owned by the consignor, art dealer Tony Shafrazi. In February 2016, Christie's sued art dealer Jose Mugrabi, and Mugrabi family firm, the Jombihis Corporation, for $32.1 million (plus interest and fees). Jose Mugrabi had bid on a client's behalf when he won the painting, but the client backed out of the sale and the Mugrabis missed two deadlines to pay the remaining balance. Christie's and the Mugrabis reached an amicable settlement in March 2016—with Mugrabi taking ownership of the painting and agreeing to pay his bill in full.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: In The Field Next to the Other Road, how is the History discussed?

The Field Next to the Other Road was executed in 1981, an important year in Basquiat's career, in which he made the transition from a street artist to an established gallery artist in New York's downtown art scene. Basquiat was invited to Modena, Italy by art dealer Emilio Mazzoli after he saw his work at New York's MoMA PS1 in February 1981. In Modena, Basquiat commenced a series of paintings for his first solo exhibition at Galleria d'Arte Emilio Mazzoli in May 1981. Among the paintings created was The Field Next to the Other Road, a depiction of skeletal man walking a cow.In May 2015, the painting sold for $37.1 million at Christie's Post-War and Contemporary Art Evening Sale in New York. In December 2015, the painting was still owned by the consignor, art dealer Tony Shafrazi. In February 2016, Christie's sued art dealer Jose Mugrabi, and Mugrabi family firm, the Jombihis Corporation, for $32.1 million (plus interest and fees). Jose Mugrabi had bid on a client's behalf when he won the painting, but the client backed out of the sale and the Mugrabis missed two deadlines to pay the remaining balance. Christie's and the Mugrabis reached an amicable settlement in March 2016—with Mugrabi taking ownership of the painting and agreeing to pay his bill in full.

List of paintings by Jean-Michel Basquiat

Musée d'Art Moderne de la Ville de Paris

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: Focus on The Field Next to the Other Road and explain the Exhibitions.

The Field Next to the Other Road has been exhibited at major art institutions worldwide, which include:SAMO at Galleria d'Arte Emilio Mazzoli in Modena, May–June 1981.Jean-Michel Basquiat at Galleria Mario Diacono in Rome, October–November 1982.Jean-Michel Basquiat: A Tribute, Important Paintings, Drawings & Objects at Tony Shafrazi Gallery in New York, September–November 1996.Jean-Michel Basquiat at Tony Shafrazi Gallery in New York, April–June 1998.Jean-Michel Basquiat at Tony Shafrazi Gallery in New York, October–November 1999.Picasso Bacon Basquiat at Tony Shafrazi Gallery in New York, May–July 2004.Dubuffet / Basquiat, Personal Histories at Pace Wildenstein in New York, April–June 2006.The Jean-Michel Basquiat Show at Fondazione La Triennale di Milano in Milan, September 2006–January 2007.Four Friends at Tony Shafrazi Gallery in New York, October 2007–February 2008.Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: Explain the Exhibitions of this artwork, The Field Next to the Other Road.

The Field Next to the Other Road has been exhibited at major art institutions worldwide, which include:SAMO at Galleria d'Arte Emilio Mazzoli in Modena, May–June 1981.Jean-Michel Basquiat at Galleria Mario Diacono in Rome, October–November 1982.Jean-Michel Basquiat: A Tribute, Important Paintings, Drawings & Objects at Tony Shafrazi Gallery in New York, September–November 1996.Jean-Michel Basquiat at Tony Shafrazi Gallery in New York, April–June 1998.Jean-Michel Basquiat at Tony Shafrazi Gallery in New York, October–November 1999.Picasso Bacon Basquiat at Tony Shafrazi Gallery in New York, May–July 2004.Dubuffet / Basquiat, Personal Histories at Pace Wildenstein in New York, April–June 2006.The Jean-Michel Basquiat Show at Fondazione La Triennale di Milano in Milan, September 2006–January 2007.Four Friends at Tony Shafrazi Gallery in New York, October 2007–February 2008.Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: How does The Field Next to the Other Road explain its Exhibitions?

The Field Next to the Other Road has been exhibited at major art institutions worldwide, which include:SAMO at Galleria d'Arte Emilio Mazzoli in Modena, May–June 1981.Jean-Michel Basquiat at Galleria Mario Diacono in Rome, October–November 1982.Jean-Michel Basquiat: A Tribute, Important Paintings, Drawings & Objects at Tony Shafrazi Gallery in New York, September–November 1996.Jean-Michel Basquiat at Tony Shafrazi Gallery in New York, April–June 1998.Jean-Michel Basquiat at Tony Shafrazi Gallery in New York, October–November 1999.Picasso Bacon Basquiat at Tony Shafrazi Gallery in New York, May–July 2004.Dubuffet / Basquiat, Personal Histories at Pace Wildenstein in New York, April–June 2006.The Jean-Michel Basquiat Show at Fondazione La Triennale di Milano in Milan, September 2006–January 2007.Four Friends at Tony Shafrazi Gallery in New York, October 2007–February 2008.Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


The Field Next to the Other Road

Prompt: In The Field Next to the Other Road, how is the Exhibitions discussed?

The Field Next to the Other Road has been exhibited at major art institutions worldwide, which include:SAMO at Galleria d'Arte Emilio Mazzoli in Modena, May–June 1981.Jean-Michel Basquiat at Galleria Mario Diacono in Rome, October–November 1982.Jean-Michel Basquiat: A Tribute, Important Paintings, Drawings & Objects at Tony Shafrazi Gallery in New York, September–November 1996.Jean-Michel Basquiat at Tony Shafrazi Gallery in New York, April–June 1998.Jean-Michel Basquiat at Tony Shafrazi Gallery in New York, October–November 1999.Picasso Bacon Basquiat at Tony Shafrazi Gallery in New York, May–July 2004.Dubuffet / Basquiat, Personal Histories at Pace Wildenstein in New York, April–June 2006.The Jean-Michel Basquiat Show at Fondazione La Triennale di Milano in Milan, September 2006–January 2007.Four Friends at Tony Shafrazi Gallery in New York, October 2007–February 2008.Basquiat at Fondation Beyeler in Switzerland, May–September 2010; Musée d'Art Moderne de la Ville de Paris, October 2010–January 2011.

List of paintings by Jean-Michel Basquiat

Category:Paintings by Jean-Michel Basquiat

Musée d’Art Moderne de la Ville de Paris


Samson and Hercules sculptures

Prompt: Focus on Samson and Hercules sculptures and explain the abstract.

The Samson and Hercules sculptures were a pair of oak atlantids of the biblical character Samson and Roman hero Hercules, carved in 1657 and situated at Samson and Hercules House, 15 Tombland, Norwich. The Samson sculpture now resides in a restored state at the Museum of Norwich at the Bridewell, but the original Hercules sculpture, then 233 years old, was lost in 1890 due to decaying beyond repair.

File:14 and 15 Tombland - geograph.org.uk - 2898943.jpg

File:Samson ^ Hercules - geograph.org.uk - 3692156.jpg

The fibreglass replicas of the Samson (left) and Hercules (right) sculptures, at the entrance to Samson and Hercules House in 2013


Samson and Hercules sculptures

Prompt: Explain the abstract of this artwork, Samson and Hercules sculptures.

The Samson and Hercules sculptures were a pair of oak atlantids of the biblical character Samson and Roman hero Hercules, carved in 1657 and situated at Samson and Hercules House, 15 Tombland, Norwich. The Samson sculpture now resides in a restored state at the Museum of Norwich at the Bridewell, but the original Hercules sculpture, then 233 years old, was lost in 1890 due to decaying beyond repair.

File:14 and 15 Tombland - geograph.org.uk - 2898943.jpg

File:Samson ^ Hercules - geograph.org.uk - 3692156.jpg

The fibreglass replicas of the Samson (left) and Hercules (right) sculptures, at the entrance to Samson and Hercules House in 2013


Samson and Hercules sculptures

Prompt: How does Samson and Hercules sculptures explain its abstract?

The Samson and Hercules sculptures were a pair of oak atlantids of the biblical character Samson and Roman hero Hercules, carved in 1657 and situated at Samson and Hercules House, 15 Tombland, Norwich. The Samson sculpture now resides in a restored state at the Museum of Norwich at the Bridewell, but the original Hercules sculpture, then 233 years old, was lost in 1890 due to decaying beyond repair.

File:14 and 15 Tombland - geograph.org.uk - 2898943.jpg

File:Samson ^ Hercules - geograph.org.uk - 3692156.jpg

The fibreglass replicas of the Samson (left) and Hercules (right) sculptures, at the entrance to Samson and Hercules House in 2013


Samson and Hercules sculptures

Prompt: In Samson and Hercules sculptures, how is the abstract discussed?

The Samson and Hercules sculptures were a pair of oak atlantids of the biblical character Samson and Roman hero Hercules, carved in 1657 and situated at Samson and Hercules House, 15 Tombland, Norwich. The Samson sculpture now resides in a restored state at the Museum of Norwich at the Bridewell, but the original Hercules sculpture, then 233 years old, was lost in 1890 due to decaying beyond repair.

File:14 and 15 Tombland - geograph.org.uk - 2898943.jpg

File:Samson ^ Hercules - geograph.org.uk - 3692156.jpg

The fibreglass replicas of the Samson (left) and Hercules (right) sculptures, at the entrance to Samson and Hercules House in 2013


Samson and Hercules sculptures

Prompt: Focus on Samson and Hercules sculptures and explain the History.

The sculptures were commissioned in a pair by the Mayor of Norwich Christopher Jay in 1657, to be placed outside his new home in Tombland, Norwich. The Samson sculpture was carved from a single oak tree trunk.The figures were moved to the building's rear courtyard in 1789, but were placed back at the front door in 1890, by which point the original Hercules sculpture had decayed beyond repair and was replaced by a replica. From 1934 until 2003, the building operated as a dance hall and later a nightclub. The venue was named Samson and Hercules House during World War II, but later was rebranded to Ritzy's in 1983.In the summer of 1992, the Samson sculpture's right arm fell off, prompting Norfolk Museums Service (NMS) to remove the sculptures. They were replaced at the venue with fibreglass replicas in 1998. These replicas were at one point painted red when the house became a lobster restaurant, and painted other colours in years since.Conservation firm Plowden & Smith were commissioned by the NMS in 2014, and oversaw a four-year process to remove 60 layers of lead paint, weighing 28 kilograms (62 lb), that had built up on the Samson sculpture. Due to water damage, fungus had accumulated in the sculpture's head, and "severe and extensive rot" of the whole sculpture had led to its wood becoming soft. This was treated with liquid consolidant, while a missing section of its torso was refilled with cellulose fibre. The treatment cost £32,000, and was nominated for "best restoration project of the year" at the Museums + Heritage Show after it was completed in 2019.When restored, the sculpture could not be put on display due to its vulnerability. In 2018, the Museum of Norwich at the Bridewell began a crowdfunding campaign, "Saving Samson", which raised the £15,000 needed to purchase an environmentally controlled glass case. It was unveiled at the museum in April 2019.

File:14 and 15 Tombland - geograph.org.uk - 2898943.jpg

File:Samson ^ Hercules - geograph.org.uk - 3692156.jpg

The fibreglass replicas of the Samson (left) and Hercules (right) sculptures, at the entrance to Samson and Hercules House in 2013


Samson and Hercules sculptures

Prompt: Explain the History of this artwork, Samson and Hercules sculptures.

The sculptures were commissioned in a pair by the Mayor of Norwich Christopher Jay in 1657, to be placed outside his new home in Tombland, Norwich. The Samson sculpture was carved from a single oak tree trunk.The figures were moved to the building's rear courtyard in 1789, but were placed back at the front door in 1890, by which point the original Hercules sculpture had decayed beyond repair and was replaced by a replica. From 1934 until 2003, the building operated as a dance hall and later a nightclub. The venue was named Samson and Hercules House during World War II, but later was rebranded to Ritzy's in 1983.In the summer of 1992, the Samson sculpture's right arm fell off, prompting Norfolk Museums Service (NMS) to remove the sculptures. They were replaced at the venue with fibreglass replicas in 1998. These replicas were at one point painted red when the house became a lobster restaurant, and painted other colours in years since.Conservation firm Plowden & Smith were commissioned by the NMS in 2014, and oversaw a four-year process to remove 60 layers of lead paint, weighing 28 kilograms (62 lb), that had built up on the Samson sculpture. Due to water damage, fungus had accumulated in the sculpture's head, and "severe and extensive rot" of the whole sculpture had led to its wood becoming soft. This was treated with liquid consolidant, while a missing section of its torso was refilled with cellulose fibre. The treatment cost £32,000, and was nominated for "best restoration project of the year" at the Museums + Heritage Show after it was completed in 2019.When restored, the sculpture could not be put on display due to its vulnerability. In 2018, the Museum of Norwich at the Bridewell began a crowdfunding campaign, "Saving Samson", which raised the £15,000 needed to purchase an environmentally controlled glass case. It was unveiled at the museum in April 2019.

File:14 and 15 Tombland - geograph.org.uk - 2898943.jpg

File:Samson ^ Hercules - geograph.org.uk - 3692156.jpg

The fibreglass replicas of the Samson (left) and Hercules (right) sculptures, at the entrance to Samson and Hercules House in 2013


Samson and Hercules sculptures

Prompt: How does Samson and Hercules sculptures explain its History?

The sculptures were commissioned in a pair by the Mayor of Norwich Christopher Jay in 1657, to be placed outside his new home in Tombland, Norwich. The Samson sculpture was carved from a single oak tree trunk.The figures were moved to the building's rear courtyard in 1789, but were placed back at the front door in 1890, by which point the original Hercules sculpture had decayed beyond repair and was replaced by a replica. From 1934 until 2003, the building operated as a dance hall and later a nightclub. The venue was named Samson and Hercules House during World War II, but later was rebranded to Ritzy's in 1983.In the summer of 1992, the Samson sculpture's right arm fell off, prompting Norfolk Museums Service (NMS) to remove the sculptures. They were replaced at the venue with fibreglass replicas in 1998. These replicas were at one point painted red when the house became a lobster restaurant, and painted other colours in years since.Conservation firm Plowden & Smith were commissioned by the NMS in 2014, and oversaw a four-year process to remove 60 layers of lead paint, weighing 28 kilograms (62 lb), that had built up on the Samson sculpture. Due to water damage, fungus had accumulated in the sculpture's head, and "severe and extensive rot" of the whole sculpture had led to its wood becoming soft. This was treated with liquid consolidant, while a missing section of its torso was refilled with cellulose fibre. The treatment cost £32,000, and was nominated for "best restoration project of the year" at the Museums + Heritage Show after it was completed in 2019.When restored, the sculpture could not be put on display due to its vulnerability. In 2018, the Museum of Norwich at the Bridewell began a crowdfunding campaign, "Saving Samson", which raised the £15,000 needed to purchase an environmentally controlled glass case. It was unveiled at the museum in April 2019.

File:14 and 15 Tombland - geograph.org.uk - 2898943.jpg

File:Samson ^ Hercules - geograph.org.uk - 3692156.jpg

The fibreglass replicas of the Samson (left) and Hercules (right) sculptures, at the entrance to Samson and Hercules House in 2013


Samson and Hercules sculptures

Prompt: In Samson and Hercules sculptures, how is the History discussed?

The sculptures were commissioned in a pair by the Mayor of Norwich Christopher Jay in 1657, to be placed outside his new home in Tombland, Norwich. The Samson sculpture was carved from a single oak tree trunk.The figures were moved to the building's rear courtyard in 1789, but were placed back at the front door in 1890, by which point the original Hercules sculpture had decayed beyond repair and was replaced by a replica. From 1934 until 2003, the building operated as a dance hall and later a nightclub. The venue was named Samson and Hercules House during World War II, but later was rebranded to Ritzy's in 1983.In the summer of 1992, the Samson sculpture's right arm fell off, prompting Norfolk Museums Service (NMS) to remove the sculptures. They were replaced at the venue with fibreglass replicas in 1998. These replicas were at one point painted red when the house became a lobster restaurant, and painted other colours in years since.Conservation firm Plowden & Smith were commissioned by the NMS in 2014, and oversaw a four-year process to remove 60 layers of lead paint, weighing 28 kilograms (62 lb), that had built up on the Samson sculpture. Due to water damage, fungus had accumulated in the sculpture's head, and "severe and extensive rot" of the whole sculpture had led to its wood becoming soft. This was treated with liquid consolidant, while a missing section of its torso was refilled with cellulose fibre. The treatment cost £32,000, and was nominated for "best restoration project of the year" at the Museums + Heritage Show after it was completed in 2019.When restored, the sculpture could not be put on display due to its vulnerability. In 2018, the Museum of Norwich at the Bridewell began a crowdfunding campaign, "Saving Samson", which raised the £15,000 needed to purchase an environmentally controlled glass case. It was unveiled at the museum in April 2019.

File:14 and 15 Tombland - geograph.org.uk - 2898943.jpg

File:Samson ^ Hercules - geograph.org.uk - 3692156.jpg

The fibreglass replicas of the Samson (left) and Hercules (right) sculptures, at the entrance to Samson and Hercules House in 2013


Madame Manet at the Piano

Prompt: Focus on Madame Manet at the Piano and explain the abstract.

Madame Manet at the Piano  is a portrait by Édouard Manet of his wife Suzanne (née Leenhoff), painted in 1867-68 and now in the Musée d'Orsay, in Paris. It highlights her talent on the piano, having played Wagner to Baudelaire during his last days.

Category:Portraits by Édouard Manet
Category:Portraits of women
Wagner
Suzanne Manet
Piano
Category:Paintings in the Musée d'Orsay
Richard Wagner
Musée d'Orsay
Paris
List of paintings by Édouard Manet
Category:Musical instruments in art
Baudelaire
Édouard Manet
still life
Robert Schumann
Schumann
Edgar Degas
piano
Charles Baudelaire
Category:1868 paintings
Category:1867 paintings
stroke


Madame Manet at the Piano

Prompt: Explain the abstract of this artwork, Madame Manet at the Piano.

Madame Manet at the Piano  is a portrait by Édouard Manet of his wife Suzanne (née Leenhoff), painted in 1867-68 and now in the Musée d'Orsay, in Paris. It highlights her talent on the piano, having played Wagner to Baudelaire during his last days.

Category:Portraits by Édouard Manet
Category:Portraits of women
Wagner
Suzanne Manet
Piano
Category:Paintings in the Musée d'Orsay
Richard Wagner
Musée d'Orsay
Paris
List of paintings by Édouard Manet
Category:Musical instruments in art
Baudelaire
Édouard Manet
still life
Robert Schumann
Schumann
Edgar Degas
piano
Charles Baudelaire
Category:1868 paintings
Category:1867 paintings
stroke


Madame Manet at the Piano

Prompt: How does Madame Manet at the Piano explain its abstract?

Madame Manet at the Piano  is a portrait by Édouard Manet of his wife Suzanne (née Leenhoff), painted in 1867-68 and now in the Musée d'Orsay, in Paris. It highlights her talent on the piano, having played Wagner to Baudelaire during his last days.

Category:Portraits by Édouard Manet
Category:Portraits of women
Wagner
Suzanne Manet
Piano
Category:Paintings in the Musée d'Orsay
Richard Wagner
Musée d'Orsay
Paris
List of paintings by Édouard Manet
Category:Musical instruments in art
Baudelaire
Édouard Manet
still life
Robert Schumann
Schumann
Edgar Degas
piano
Charles Baudelaire
Category:1868 paintings
Category:1867 paintings
stroke


Madame Manet at the Piano

Prompt: In Madame Manet at the Piano, how is the abstract discussed?

Madame Manet at the Piano  is a portrait by Édouard Manet of his wife Suzanne (née Leenhoff), painted in 1867-68 and now in the Musée d'Orsay, in Paris. It highlights her talent on the piano, having played Wagner to Baudelaire during his last days.

Category:Portraits by Édouard Manet
Category:Portraits of women
Wagner
Suzanne Manet
Piano
Category:Paintings in the Musée d'Orsay
Richard Wagner
Musée d'Orsay
Paris
List of paintings by Édouard Manet
Category:Musical instruments in art
Baudelaire
Édouard Manet
still life
Robert Schumann
Schumann
Edgar Degas
piano
Charles Baudelaire
Category:1868 paintings
Category:1867 paintings
stroke


Madame Manet at the Piano

Prompt: Focus on Madame Manet at the Piano and explain the Presentation.

In 1849 Manet's father appointed Suzanne Leenhoff as piano teacher for his sons. She was a gifted interpreter of composers such as Schumann and Richard Wagner. When the poet Charles Baudelaire suffered a stroke in 1866 and ended up in a Paris hospital, she offered him a distraction by playing Wagner. A love affair developed between Leenhoff and Manet, which would eventually will led to their marriage in 1863.In 1868, Edgar Degas had made a painting of the Manet couple with Suzanne at the piano and her husband listening on the couch. Degas gave the canvas to Manet as a present. However, the latter was so dissatisfied with the way his wife had been portrayed that he cut off part of the canvas. Then he painted his own version. Suzanne Manet wears a black dress on this. Manet chose a relatively high vantage point for this painting so that her hands are clearly visible. In the top right corner a small still life is visible in the mirror, including a clock and a pair of candlesticks, lending depth and vibrancy to the flat background.

Category:Portraits by Édouard Manet
Category:Portraits of women
Wagner
Suzanne Manet
Piano
Category:Paintings in the Musée d'Orsay
Richard Wagner
Musée d'Orsay
Paris
List of paintings by Édouard Manet
Category:Musical instruments in art
Baudelaire
Édouard Manet
still life
Robert Schumann
Schumann
Edgar Degas
piano
Charles Baudelaire
Category:1868 paintings
Category:1867 paintings
stroke


Madame Manet at the Piano

Prompt: Explain the Presentation of this artwork, Madame Manet at the Piano.

In 1849 Manet's father appointed Suzanne Leenhoff as piano teacher for his sons. She was a gifted interpreter of composers such as Schumann and Richard Wagner. When the poet Charles Baudelaire suffered a stroke in 1866 and ended up in a Paris hospital, she offered him a distraction by playing Wagner. A love affair developed between Leenhoff and Manet, which would eventually will led to their marriage in 1863.In 1868, Edgar Degas had made a painting of the Manet couple with Suzanne at the piano and her husband listening on the couch. Degas gave the canvas to Manet as a present. However, the latter was so dissatisfied with the way his wife had been portrayed that he cut off part of the canvas. Then he painted his own version. Suzanne Manet wears a black dress on this. Manet chose a relatively high vantage point for this painting so that her hands are clearly visible. In the top right corner a small still life is visible in the mirror, including a clock and a pair of candlesticks, lending depth and vibrancy to the flat background.

Category:Portraits by Édouard Manet
Category:Portraits of women
Wagner
Suzanne Manet
Piano
Category:Paintings in the Musée d'Orsay
Richard Wagner
Musée d'Orsay
Paris
List of paintings by Édouard Manet
Category:Musical instruments in art
Baudelaire
Édouard Manet
still life
Robert Schumann
Schumann
Edgar Degas
piano
Charles Baudelaire
Category:1868 paintings
Category:1867 paintings
stroke


Madame Manet at the Piano

Prompt: How does Madame Manet at the Piano explain its Presentation?

In 1849 Manet's father appointed Suzanne Leenhoff as piano teacher for his sons. She was a gifted interpreter of composers such as Schumann and Richard Wagner. When the poet Charles Baudelaire suffered a stroke in 1866 and ended up in a Paris hospital, she offered him a distraction by playing Wagner. A love affair developed between Leenhoff and Manet, which would eventually will led to their marriage in 1863.In 1868, Edgar Degas had made a painting of the Manet couple with Suzanne at the piano and her husband listening on the couch. Degas gave the canvas to Manet as a present. However, the latter was so dissatisfied with the way his wife had been portrayed that he cut off part of the canvas. Then he painted his own version. Suzanne Manet wears a black dress on this. Manet chose a relatively high vantage point for this painting so that her hands are clearly visible. In the top right corner a small still life is visible in the mirror, including a clock and a pair of candlesticks, lending depth and vibrancy to the flat background.

Category:Portraits by Édouard Manet
Category:Portraits of women
Wagner
Suzanne Manet
Piano
Category:Paintings in the Musée d'Orsay
Richard Wagner
Musée d'Orsay
Paris
List of paintings by Édouard Manet
Category:Musical instruments in art
Baudelaire
Édouard Manet
still life
Robert Schumann
Schumann
Edgar Degas
piano
Charles Baudelaire
Category:1868 paintings
Category:1867 paintings
stroke


Madame Manet at the Piano

Prompt: In Madame Manet at the Piano, how is the Presentation discussed?

In 1849 Manet's father appointed Suzanne Leenhoff as piano teacher for his sons. She was a gifted interpreter of composers such as Schumann and Richard Wagner. When the poet Charles Baudelaire suffered a stroke in 1866 and ended up in a Paris hospital, she offered him a distraction by playing Wagner. A love affair developed between Leenhoff and Manet, which would eventually will led to their marriage in 1863.In 1868, Edgar Degas had made a painting of the Manet couple with Suzanne at the piano and her husband listening on the couch. Degas gave the canvas to Manet as a present. However, the latter was so dissatisfied with the way his wife had been portrayed that he cut off part of the canvas. Then he painted his own version. Suzanne Manet wears a black dress on this. Manet chose a relatively high vantage point for this painting so that her hands are clearly visible. In the top right corner a small still life is visible in the mirror, including a clock and a pair of candlesticks, lending depth and vibrancy to the flat background.

Category:Portraits by Édouard Manet
Category:Portraits of women
Wagner
Suzanne Manet
Piano
Category:Paintings in the Musée d'Orsay
Richard Wagner
Musée d'Orsay
Paris
List of paintings by Édouard Manet
Category:Musical instruments in art
Baudelaire
Édouard Manet
still life
Robert Schumann
Schumann
Edgar Degas
piano
Charles Baudelaire
Category:1868 paintings
Category:1867 paintings
stroke


Bust of Christian Wahl

Prompt: Focus on Bust of Christian Wahl and explain the abstract.

Christian Wahl is a public artwork by Italian artist Gaetano Trentanove located in Lake Park, which is in Milwaukee, Wisconsin, United States. The bronze bust of Milwaukee businessman Christian Wahl was created in 1903, and is set atop a red granite pedestal. Altogether it measures 8 feet in height.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: Explain the abstract of this artwork, Bust of Christian Wahl.

Christian Wahl is a public artwork by Italian artist Gaetano Trentanove located in Lake Park, which is in Milwaukee, Wisconsin, United States. The bronze bust of Milwaukee businessman Christian Wahl was created in 1903, and is set atop a red granite pedestal. Altogether it measures 8 feet in height.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: How does Bust of Christian Wahl explain its abstract?

Christian Wahl is a public artwork by Italian artist Gaetano Trentanove located in Lake Park, which is in Milwaukee, Wisconsin, United States. The bronze bust of Milwaukee businessman Christian Wahl was created in 1903, and is set atop a red granite pedestal. Altogether it measures 8 feet in height.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: In Bust of Christian Wahl, how is the abstract discussed?

Christian Wahl is a public artwork by Italian artist Gaetano Trentanove located in Lake Park, which is in Milwaukee, Wisconsin, United States. The bronze bust of Milwaukee businessman Christian Wahl was created in 1903, and is set atop a red granite pedestal. Altogether it measures 8 feet in height.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: Focus on Bust of Christian Wahl and explain the Description.

The bronze bust of Christian Wahl depicts a kindly balding older gentleman sporting a beard and mustache, and wearing an overcoat, suit and tie. The sculpture sits on a red granite base with an inscription on the back stating: "He gave /  his ripest years and study / to the parks / rewarded alive / by / grateful remembrance". This inscription is signed. There is an inscription on the front of the base that states: "In memory of Christian Wahl / born February 12, 1829 / died October 19, 1901". In 2023, the bust was relocated from Wahl Park, on the city’s north side, to Lake Park, adjacent to Wahl Avenue. It is administered by the Milwaukee County, Department of Parks, Recreation and Culture.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: Explain the Description of this artwork, Bust of Christian Wahl.

The bronze bust of Christian Wahl depicts a kindly balding older gentleman sporting a beard and mustache, and wearing an overcoat, suit and tie. The sculpture sits on a red granite base with an inscription on the back stating: "He gave /  his ripest years and study / to the parks / rewarded alive / by / grateful remembrance". This inscription is signed. There is an inscription on the front of the base that states: "In memory of Christian Wahl / born February 12, 1829 / died October 19, 1901". In 2023, the bust was relocated from Wahl Park, on the city’s north side, to Lake Park, adjacent to Wahl Avenue. It is administered by the Milwaukee County, Department of Parks, Recreation and Culture.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: How does Bust of Christian Wahl explain its Description?

The bronze bust of Christian Wahl depicts a kindly balding older gentleman sporting a beard and mustache, and wearing an overcoat, suit and tie. The sculpture sits on a red granite base with an inscription on the back stating: "He gave /  his ripest years and study / to the parks / rewarded alive / by / grateful remembrance". This inscription is signed. There is an inscription on the front of the base that states: "In memory of Christian Wahl / born February 12, 1829 / died October 19, 1901". In 2023, the bust was relocated from Wahl Park, on the city’s north side, to Lake Park, adjacent to Wahl Avenue. It is administered by the Milwaukee County, Department of Parks, Recreation and Culture.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: In Bust of Christian Wahl, how is the Description discussed?

The bronze bust of Christian Wahl depicts a kindly balding older gentleman sporting a beard and mustache, and wearing an overcoat, suit and tie. The sculpture sits on a red granite base with an inscription on the back stating: "He gave /  his ripest years and study / to the parks / rewarded alive / by / grateful remembrance". This inscription is signed. There is an inscription on the front of the base that states: "In memory of Christian Wahl / born February 12, 1829 / died October 19, 1901". In 2023, the bust was relocated from Wahl Park, on the city’s north side, to Lake Park, adjacent to Wahl Avenue. It is administered by the Milwaukee County, Department of Parks, Recreation and Culture.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: Focus on Bust of Christian Wahl and explain the Historical information.

Christian Wahl was a wealthy businessman often referred to as the father of Milwaukee's public parks because he led most of the planning of the county's park system. Wahl was born in Bavaria in 1829 and moved with his family to a farm 5 miles south of Milwaukee in 1848. After traveling extensively, he settled in Chicago where he joined his brother in the glue business. Wahl served on Chicago's city council and board of education. Upon retiring, he moved back to Milwaukee, purchasing a home on Prospect Avenue. Wahl's home soon became the center of Milwaukee's German-American society, as he often hosted musical and literary events. "During the last years of his life, as a wealthy, retired businessman, Wahl was president of the first City Park Board in the board's first decade. His strong leadership was instrumental in the development of the city's park system and he took a deep personal interest in the completion of Lake Park." When Wahl died in 1901, Der Herald, Milwaukee's German-language newspaper, stated that his altruistic labor deserved a monument, and the city's citizens agreed.The sculpture was originally placed in the outside court between two porticoes in Lake Park, Milwaukee. The dedication ceremonies, planned to coincide with the opening of a park pavilion, took place on July 11, 1903. "Judge George H. Noyes made the presentation speech, the bust remaining with the American flag. As Judge Noyes ceased speaking Clauder's Military Band struck up "The Star-Spangled Banner", while Cyril Gordon Weld, the grandson of Mr. Wahl, cut the cord that held the national colors about the bust, and the flag full, disclosing the features of Christian Wahl." The dedication ended with Wahl's widow presented a collection of large palm trees, assembled by the late Wahl, to the park board.Wahl Park was named in Christian Wahl's honor in 1956, and Wahl's bust was moved there in 1960.Christian Wahl was recognized during his lifetime. The street leading from the southeast into Lake Park is named Wahl Avenue.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: Explain the Historical information of this artwork, Bust of Christian Wahl.

Christian Wahl was a wealthy businessman often referred to as the father of Milwaukee's public parks because he led most of the planning of the county's park system. Wahl was born in Bavaria in 1829 and moved with his family to a farm 5 miles south of Milwaukee in 1848. After traveling extensively, he settled in Chicago where he joined his brother in the glue business. Wahl served on Chicago's city council and board of education. Upon retiring, he moved back to Milwaukee, purchasing a home on Prospect Avenue. Wahl's home soon became the center of Milwaukee's German-American society, as he often hosted musical and literary events. "During the last years of his life, as a wealthy, retired businessman, Wahl was president of the first City Park Board in the board's first decade. His strong leadership was instrumental in the development of the city's park system and he took a deep personal interest in the completion of Lake Park." When Wahl died in 1901, Der Herald, Milwaukee's German-language newspaper, stated that his altruistic labor deserved a monument, and the city's citizens agreed.The sculpture was originally placed in the outside court between two porticoes in Lake Park, Milwaukee. The dedication ceremonies, planned to coincide with the opening of a park pavilion, took place on July 11, 1903. "Judge George H. Noyes made the presentation speech, the bust remaining with the American flag. As Judge Noyes ceased speaking Clauder's Military Band struck up "The Star-Spangled Banner", while Cyril Gordon Weld, the grandson of Mr. Wahl, cut the cord that held the national colors about the bust, and the flag full, disclosing the features of Christian Wahl." The dedication ended with Wahl's widow presented a collection of large palm trees, assembled by the late Wahl, to the park board.Wahl Park was named in Christian Wahl's honor in 1956, and Wahl's bust was moved there in 1960.Christian Wahl was recognized during his lifetime. The street leading from the southeast into Lake Park is named Wahl Avenue.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: How does Bust of Christian Wahl explain its Historical information?

Christian Wahl was a wealthy businessman often referred to as the father of Milwaukee's public parks because he led most of the planning of the county's park system. Wahl was born in Bavaria in 1829 and moved with his family to a farm 5 miles south of Milwaukee in 1848. After traveling extensively, he settled in Chicago where he joined his brother in the glue business. Wahl served on Chicago's city council and board of education. Upon retiring, he moved back to Milwaukee, purchasing a home on Prospect Avenue. Wahl's home soon became the center of Milwaukee's German-American society, as he often hosted musical and literary events. "During the last years of his life, as a wealthy, retired businessman, Wahl was president of the first City Park Board in the board's first decade. His strong leadership was instrumental in the development of the city's park system and he took a deep personal interest in the completion of Lake Park." When Wahl died in 1901, Der Herald, Milwaukee's German-language newspaper, stated that his altruistic labor deserved a monument, and the city's citizens agreed.The sculpture was originally placed in the outside court between two porticoes in Lake Park, Milwaukee. The dedication ceremonies, planned to coincide with the opening of a park pavilion, took place on July 11, 1903. "Judge George H. Noyes made the presentation speech, the bust remaining with the American flag. As Judge Noyes ceased speaking Clauder's Military Band struck up "The Star-Spangled Banner", while Cyril Gordon Weld, the grandson of Mr. Wahl, cut the cord that held the national colors about the bust, and the flag full, disclosing the features of Christian Wahl." The dedication ended with Wahl's widow presented a collection of large palm trees, assembled by the late Wahl, to the park board.Wahl Park was named in Christian Wahl's honor in 1956, and Wahl's bust was moved there in 1960.Christian Wahl was recognized during his lifetime. The street leading from the southeast into Lake Park is named Wahl Avenue.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: In Bust of Christian Wahl, how is the Historical information discussed?

Christian Wahl was a wealthy businessman often referred to as the father of Milwaukee's public parks because he led most of the planning of the county's park system. Wahl was born in Bavaria in 1829 and moved with his family to a farm 5 miles south of Milwaukee in 1848. After traveling extensively, he settled in Chicago where he joined his brother in the glue business. Wahl served on Chicago's city council and board of education. Upon retiring, he moved back to Milwaukee, purchasing a home on Prospect Avenue. Wahl's home soon became the center of Milwaukee's German-American society, as he often hosted musical and literary events. "During the last years of his life, as a wealthy, retired businessman, Wahl was president of the first City Park Board in the board's first decade. His strong leadership was instrumental in the development of the city's park system and he took a deep personal interest in the completion of Lake Park." When Wahl died in 1901, Der Herald, Milwaukee's German-language newspaper, stated that his altruistic labor deserved a monument, and the city's citizens agreed.The sculpture was originally placed in the outside court between two porticoes in Lake Park, Milwaukee. The dedication ceremonies, planned to coincide with the opening of a park pavilion, took place on July 11, 1903. "Judge George H. Noyes made the presentation speech, the bust remaining with the American flag. As Judge Noyes ceased speaking Clauder's Military Band struck up "The Star-Spangled Banner", while Cyril Gordon Weld, the grandson of Mr. Wahl, cut the cord that held the national colors about the bust, and the flag full, disclosing the features of Christian Wahl." The dedication ended with Wahl's widow presented a collection of large palm trees, assembled by the late Wahl, to the park board.Wahl Park was named in Christian Wahl's honor in 1956, and Wahl's bust was moved there in 1960.Christian Wahl was recognized during his lifetime. The street leading from the southeast into Lake Park is named Wahl Avenue.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: In the context of Bust of Christian Wahl, explain the Location history and the Historical information.

Christian Wahl was originally sited in Lake Park, in Milwaukee's East Side in 1903. It was moved to Wahl Park, located in Milwaukee's North Side, in 1960.  In September 2020, the Milwaukee County Board changed the name of the park to Harriet Tubman Park in honor of the well-known abolitionist.  The bust remains in Harriet Tubman Park pending a decision on its future location.  The name of the neighborhood and the small creek that runs along the east edge of the park are still named for Wahl.  They are the Wahl Park neighborhood and Wahl Creek, respectively.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: Explain the Location history about the Historical information of this artwork, Bust of Christian Wahl.

Christian Wahl was originally sited in Lake Park, in Milwaukee's East Side in 1903. It was moved to Wahl Park, located in Milwaukee's North Side, in 1960.  In September 2020, the Milwaukee County Board changed the name of the park to Harriet Tubman Park in honor of the well-known abolitionist.  The bust remains in Harriet Tubman Park pending a decision on its future location.  The name of the neighborhood and the small creek that runs along the east edge of the park are still named for Wahl.  They are the Wahl Park neighborhood and Wahl Creek, respectively.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: In Bust of Christian Wahl, how is the Location history of the Historical information explained?

Christian Wahl was originally sited in Lake Park, in Milwaukee's East Side in 1903. It was moved to Wahl Park, located in Milwaukee's North Side, in 1960.  In September 2020, the Milwaukee County Board changed the name of the park to Harriet Tubman Park in honor of the well-known abolitionist.  The bust remains in Harriet Tubman Park pending a decision on its future location.  The name of the neighborhood and the small creek that runs along the east edge of the park are still named for Wahl.  They are the Wahl Park neighborhood and Wahl Creek, respectively.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Bust of Christian Wahl

Prompt: Describe the characteristics of the Location history in Bust of Christian Wahl's Historical information.

Christian Wahl was originally sited in Lake Park, in Milwaukee's East Side in 1903. It was moved to Wahl Park, located in Milwaukee's North Side, in 1960.  In September 2020, the Milwaukee County Board changed the name of the park to Harriet Tubman Park in honor of the well-known abolitionist.  The bust remains in Harriet Tubman Park pending a decision on its future location.  The name of the neighborhood and the small creek that runs along the east edge of the park are still named for Wahl.  They are the Wahl Park neighborhood and Wahl Creek, respectively.

Category:Articles containing video clips

Category:Outdoor sculptures in Milwaukee


Prompt: Focus on The Headless Horseman Pursuing Ichabod Crane and explain the abstract.

The Headless Horseman Pursuing Ichabod Crane (1858) is a painting by American artist John Quidor, depicting a scene from Washington Irving's 1820 short story "The Legend of Sleepy Hollow".The schoolmaster Ichabod Crane is fleeing on a white horse, pursued by the Headless Horseman on a black horse.  In one hand, the Headless Horseman is holding a pumpkin, which he is preparing to throw at Crane.  Visible in the background is the Old Dutch Church of Sleepy Hollow and the adjacent Sleepy Hollow Cemetery, and the full moon.The painting is one of several by the artist based on scenes from Irving's written works about Dutch New York, including such paintings as Ichabod Crane Flying from the Headless Horseman (1828, Yale University Art Gallery) and The Return of Rip Van Winkle (1849, National Gallery of Art).Quidor first exhibited the picture at the National Academy of Design in New York City. The Smithsonian American Art Museum in Washington, D.C. bought the painting in 1994, but it was removed from display in 2021.

Category:Works based on The Legend of Sleepy Hollow

Category:Paintings in the Smithsonian American Art Museum


Prompt: Explain the abstract of this artwork, The Headless Horseman Pursuing Ichabod Crane.

The Headless Horseman Pursuing Ichabod Crane (1858) is a painting by American artist John Quidor, depicting a scene from Washington Irving's 1820 short story "The Legend of Sleepy Hollow".The schoolmaster Ichabod Crane is fleeing on a white horse, pursued by the Headless Horseman on a black horse.  In one hand, the Headless Horseman is holding a pumpkin, which he is preparing to throw at Crane.  Visible in the background is the Old Dutch Church of Sleepy Hollow and the adjacent Sleepy Hollow Cemetery, and the full moon.The painting is one of several by the artist based on scenes from Irving's written works about Dutch New York, including such paintings as Ichabod Crane Flying from the Headless Horseman (1828, Yale University Art Gallery) and The Return of Rip Van Winkle (1849, National Gallery of Art).Quidor first exhibited the picture at the National Academy of Design in New York City. The Smithsonian American Art Museum in Washington, D.C. bought the painting in 1994, but it was removed from display in 2021.

Category:Works based on The Legend of Sleepy Hollow

Category:Paintings in the Smithsonian American Art Museum


Prompt: How does The Headless Horseman Pursuing Ichabod Crane explain its abstract?

The Headless Horseman Pursuing Ichabod Crane (1858) is a painting by American artist John Quidor, depicting a scene from Washington Irving's 1820 short story "The Legend of Sleepy Hollow".The schoolmaster Ichabod Crane is fleeing on a white horse, pursued by the Headless Horseman on a black horse.  In one hand, the Headless Horseman is holding a pumpkin, which he is preparing to throw at Crane.  Visible in the background is the Old Dutch Church of Sleepy Hollow and the adjacent Sleepy Hollow Cemetery, and the full moon.The painting is one of several by the artist based on scenes from Irving's written works about Dutch New York, including such paintings as Ichabod Crane Flying from the Headless Horseman (1828, Yale University Art Gallery) and The Return of Rip Van Winkle (1849, National Gallery of Art).Quidor first exhibited the picture at the National Academy of Design in New York City. The Smithsonian American Art Museum in Washington, D.C. bought the painting in 1994, but it was removed from display in 2021.

Category:Works based on The Legend of Sleepy Hollow

Category:Paintings in the Smithsonian American Art Museum


Prompt: In The Headless Horseman Pursuing Ichabod Crane, how is the abstract discussed?

The Headless Horseman Pursuing Ichabod Crane (1858) is a painting by American artist John Quidor, depicting a scene from Washington Irving's 1820 short story "The Legend of Sleepy Hollow".The schoolmaster Ichabod Crane is fleeing on a white horse, pursued by the Headless Horseman on a black horse.  In one hand, the Headless Horseman is holding a pumpkin, which he is preparing to throw at Crane.  Visible in the background is the Old Dutch Church of Sleepy Hollow and the adjacent Sleepy Hollow Cemetery, and the full moon.The painting is one of several by the artist based on scenes from Irving's written works about Dutch New York, including such paintings as Ichabod Crane Flying from the Headless Horseman (1828, Yale University Art Gallery) and The Return of Rip Van Winkle (1849, National Gallery of Art).Quidor first exhibited the picture at the National Academy of Design in New York City. The Smithsonian American Art Museum in Washington, D.C. bought the painting in 1994, but it was removed from display in 2021.

Category:Works based on The Legend of Sleepy Hollow

Category:Paintings in the Smithsonian American Art Museum


The Brazen Serpent (Bruni)

Prompt: Focus on The Brazen Serpent (Bruni) and explain the abstract.

The Brazen Serpent is a giant painting by the Russian artist of Italian origin Fyodor Bruni (1799-1875), completed in 1841. It is part of the collection of the State Russian Museum in St. Petersburg (inventory number Zh-5070). The size of the painting is 565×852 cm.Bruni's inspiration for the painting was a story described in the Old Testament about how the Jewish people, led out of Egypt by the prophet Moses, began to lose faith and murmur after years of wandering in the stony desert. This led to God's punishment — a rain of poisonous snakes to save them from the deadly bites of a brazen serpent.Bruni worked on this painting for about fifteen years: he informed the Imperial Society for the Encouragement of the Arts that he had begun work on the large painting in February 1827, and completed it in 1841. In 1833-1836 he worked in Italy, then he was called back to Saint Petersburg to teach at the Imperial Academy of Arts, and in 1838 he returned to Rome, where he completed the painting.The painting was sent to Russia in the summer of 1841, after a successful exhibition in Rome. It was exhibited in the Winter Palace and after a while it was transferred to the Academy of Arts. From the very beginning, "The Brazen Serpent" was often compared with Karl Bryullov's large-format painting "The Last Day of Pompeii", which appeared seven years earlier - later, both paintings were exhibited side by side in the Hermitage and the Russian Museum; they were called "colossi of Russian painting".The surface of the canvas is about 48 m2, the weight of the canvas is about 70 kg. It is considered to be the largest Russian history painting, the largest painting in the collection of the State Russian Museum, and the largest among easel paintings of the first half of the 19th century.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: Explain the abstract of this artwork, The Brazen Serpent (Bruni).

The Brazen Serpent is a giant painting by the Russian artist of Italian origin Fyodor Bruni (1799-1875), completed in 1841. It is part of the collection of the State Russian Museum in St. Petersburg (inventory number Zh-5070). The size of the painting is 565×852 cm.Bruni's inspiration for the painting was a story described in the Old Testament about how the Jewish people, led out of Egypt by the prophet Moses, began to lose faith and murmur after years of wandering in the stony desert. This led to God's punishment — a rain of poisonous snakes to save them from the deadly bites of a brazen serpent.Bruni worked on this painting for about fifteen years: he informed the Imperial Society for the Encouragement of the Arts that he had begun work on the large painting in February 1827, and completed it in 1841. In 1833-1836 he worked in Italy, then he was called back to Saint Petersburg to teach at the Imperial Academy of Arts, and in 1838 he returned to Rome, where he completed the painting.The painting was sent to Russia in the summer of 1841, after a successful exhibition in Rome. It was exhibited in the Winter Palace and after a while it was transferred to the Academy of Arts. From the very beginning, "The Brazen Serpent" was often compared with Karl Bryullov's large-format painting "The Last Day of Pompeii", which appeared seven years earlier - later, both paintings were exhibited side by side in the Hermitage and the Russian Museum; they were called "colossi of Russian painting".The surface of the canvas is about 48 m2, the weight of the canvas is about 70 kg. It is considered to be the largest Russian history painting, the largest painting in the collection of the State Russian Museum, and the largest among easel paintings of the first half of the 19th century.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: How does The Brazen Serpent (Bruni) explain its abstract?

The Brazen Serpent is a giant painting by the Russian artist of Italian origin Fyodor Bruni (1799-1875), completed in 1841. It is part of the collection of the State Russian Museum in St. Petersburg (inventory number Zh-5070). The size of the painting is 565×852 cm.Bruni's inspiration for the painting was a story described in the Old Testament about how the Jewish people, led out of Egypt by the prophet Moses, began to lose faith and murmur after years of wandering in the stony desert. This led to God's punishment — a rain of poisonous snakes to save them from the deadly bites of a brazen serpent.Bruni worked on this painting for about fifteen years: he informed the Imperial Society for the Encouragement of the Arts that he had begun work on the large painting in February 1827, and completed it in 1841. In 1833-1836 he worked in Italy, then he was called back to Saint Petersburg to teach at the Imperial Academy of Arts, and in 1838 he returned to Rome, where he completed the painting.The painting was sent to Russia in the summer of 1841, after a successful exhibition in Rome. It was exhibited in the Winter Palace and after a while it was transferred to the Academy of Arts. From the very beginning, "The Brazen Serpent" was often compared with Karl Bryullov's large-format painting "The Last Day of Pompeii", which appeared seven years earlier - later, both paintings were exhibited side by side in the Hermitage and the Russian Museum; they were called "colossi of Russian painting".The surface of the canvas is about 48 m2, the weight of the canvas is about 70 kg. It is considered to be the largest Russian history painting, the largest painting in the collection of the State Russian Museum, and the largest among easel paintings of the first half of the 19th century.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: In The Brazen Serpent (Bruni), how is the abstract discussed?

The Brazen Serpent is a giant painting by the Russian artist of Italian origin Fyodor Bruni (1799-1875), completed in 1841. It is part of the collection of the State Russian Museum in St. Petersburg (inventory number Zh-5070). The size of the painting is 565×852 cm.Bruni's inspiration for the painting was a story described in the Old Testament about how the Jewish people, led out of Egypt by the prophet Moses, began to lose faith and murmur after years of wandering in the stony desert. This led to God's punishment — a rain of poisonous snakes to save them from the deadly bites of a brazen serpent.Bruni worked on this painting for about fifteen years: he informed the Imperial Society for the Encouragement of the Arts that he had begun work on the large painting in February 1827, and completed it in 1841. In 1833-1836 he worked in Italy, then he was called back to Saint Petersburg to teach at the Imperial Academy of Arts, and in 1838 he returned to Rome, where he completed the painting.The painting was sent to Russia in the summer of 1841, after a successful exhibition in Rome. It was exhibited in the Winter Palace and after a while it was transferred to the Academy of Arts. From the very beginning, "The Brazen Serpent" was often compared with Karl Bryullov's large-format painting "The Last Day of Pompeii", which appeared seven years earlier - later, both paintings were exhibited side by side in the Hermitage and the Russian Museum; they were called "colossi of Russian painting".The surface of the canvas is about 48 m2, the weight of the canvas is about 70 kg. It is considered to be the largest Russian history painting, the largest painting in the collection of the State Russian Museum, and the largest among easel paintings of the first half of the 19th century.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: Focus on The Brazen Serpent (Bruni) and explain the Plot and description.

The plot of the painting "Brazen Serpen" is based on a story described in the Old Testament, in the Book of Numbers, the fourth book of the Torah. After years of wandering in the waterless, stony desert through which Moses led the people of Judah out of Egyptian captivity, the people began to murmur because they doubted the prophet's ability to lead them. Then the Lord's punishment came upon them-the rain of poisonous serpents. They repented and began to ask for forgiveness, and then Moses set up the brazen serpent, as the Lord had commanded him, so that those who looked at it with true faith would live and be healed of the serpent's bites:"Then the Lord said to Moses, ‘Make a snake image and mount it on a pole. When anyone who is bitten looks at it, he will recover.’ So Moses made a bronze snake and mounted it on a pole. Whenever someone was bitten, and he looked at the bronze snake, he recovered’”. (Numbers 21:8-9)Bruni himself, discussing the idea of the painting, wrote: "I tried to make it so that at first glance it would evoke the pathetic pathos of this terrible scene and bear the stamp of God's punishment. The final version of the painting is a huge multi-figure composition, in which it is difficult to distinguish any main character. Some people seek salvation in the bronze snake, while others panic and try to avoid the rain of live snakes. Some are shocked by the death of their loved ones, some pray to God for forgiveness, and some curse him and Moses. The painting is full of depictions of grief, pain, horror, and death.In the center of the painting, in the background, is the prophet Moses, pointing with his staff at the brass serpent and signaling with his other hand to approach it. His gaze is stern as he looks over the heads of the suffering people. Next to him stands the high priest Eleazar, son of Aaron, Moses' brother, and behind them a group of Levites. Moses and Eleazar are placed in the geometric center of the canvas, symbolizing supernatural power — on the one hand, to punish (Eleazar), and on the other, to show the way to salvation (Moses).But it is not Moses and Eleazar, but the people in the larger foreground of the painting who first attract the viewer's attention. They are frightened and desperate, not even thinking of seeking salvation or looking at the bronze snake: it is as if they do not hear Moses or are simply incapable of heeding his advice. In the centre of the painting is a young man of athletic build, writhing in agony from snakebites. His leg is coiled with a snake, and his mouth is wide open: apparently cursing everyone "in fury and blasphemy". His figure is sometimes compared to Lanae. Sometimes his figure is compared to Laocoon, the priest of the god Apollo in Troy, who according to legend was strangled by snakes with his sons ("Laocoon and his sons").In the right foreground of the painting, a woman rushes towards her husband in fear and despair. The woman's face bears a resemblance to that of Angelica, Bruni's wife. Such an introduction of the artist's native image into the painting can be seen as a manifestation of romanticism in history painting. This woman is the local centre of the right-hand side of the painting: everyone around her is also gripped by terror. The fact that many people seek protection from their relatives and friends does not quite fit in with the biblical description, according to which it was enough to look at a bronze snake to heal people.The foreground of the left side of the canvas underwent significant changes during the course of the painting. In early sketches and in the first version (underpainting) of the painting, Bruni depicted a group of four people reaching for the bronze snake — a man carrying an old father, his wife and his son. In the final version of the painting, the group is very different — the son, his leg bandaged from the fatal bite, dying in the arms of his father and mother. Despite the depth of their grief, they do not try to reach the bronze snake: apparently having lost all hope of saving their son.To her right, a girl bent over the stone. Bruni himself described her as follows: "She is an orphan, robbed of everything on earth. She embraces, half kneeling, a stone. This stone is the only refuge for the wretched. She embraces it, weeping, and waters it with her tears". And the artist continued: "One of her brothers, still an infant, lies beside this stone — grief. I painted him dead of hunger".To the right of the girl, in the background, the artist has depicted a man leaning over a dying young woman (a bride, according to Bruni). He tries in vain to open her eyes in the hope that she will see the bronze snake. Nearby, leaning over her and putting her hand to the dying woman's heart, is an older woman, her mother.At the same time, some of the people in the background of the painting are approaching the serpent, searching for salvation. Among them is a mother with an infant, standing at the foot of a column, holding the baby's hands to it. On the right of the painting, a man carries his exhausted wife in his arms, looking hopefully towards the "Brazen Serpent" — dressed in white, she most clearly symbolises religious insight and faith in healing, with Bruni himself characterising her state as "ecstasy".The mother of two children to her left seems to be looking at this woman. But she is not: in fact she is looking up at the sky from which snakes are falling and, according to Bruni, 'fearing for her children, she wants to cover them with the hollow of her clothes'. Still to the left is a kneeling woman with a dead child in front of her. Although she is facing the bronze snake, there is no faith in redemption in her gaze, only maternal grief and resignation to fate.As a landscape, Bruni depicted, in his own words, a place 'in the middle of the stony Arabian desert near the Red Sea, where high, steep cliffs rise, the foothills of Mount Or[en]'. As the artist had never been there himself, the whole landscape was painted by his imagination: the rocks and mountains, the earth and the sky. The dark landscape, with storm clouds from which poisonous snakes fall, emphasises the ruthlessness of the punishment and the horror that engulfed the people. In this sense, the landscape plays the role of an actor in the painting. Together with the effects of light and colour, this can be seen as a manifestation of Romanticism in Bruni's classicism painting.As for the lighting of the painting, it is conditional, since it is impossible to identify a specific source of light. Most of the sky is covered with clouds, with only a small gap visible in the distance, but clearly not enough to illuminate the entire space of the painting. The groups of people in the foreground and background are relatively evenly lit. Nevertheless, some figures seem to be emitting light of their own, such as the woman dressed in white and carried by her husband.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович


The Brazen Serpent (Bruni)

Prompt: Explain the Plot and description of this artwork, The Brazen Serpent (Bruni).

The plot of the painting "Brazen Serpen" is based on a story described in the Old Testament, in the Book of Numbers, the fourth book of the Torah. After years of wandering in the waterless, stony desert through which Moses led the people of Judah out of Egyptian captivity, the people began to murmur because they doubted the prophet's ability to lead them. Then the Lord's punishment came upon them-the rain of poisonous serpents. They repented and began to ask for forgiveness, and then Moses set up the brazen serpent, as the Lord had commanded him, so that those who looked at it with true faith would live and be healed of the serpent's bites:"Then the Lord said to Moses, ‘Make a snake image and mount it on a pole. When anyone who is bitten looks at it, he will recover.’ So Moses made a bronze snake and mounted it on a pole. Whenever someone was bitten, and he looked at the bronze snake, he recovered’”. (Numbers 21:8-9)Bruni himself, discussing the idea of the painting, wrote: "I tried to make it so that at first glance it would evoke the pathetic pathos of this terrible scene and bear the stamp of God's punishment. The final version of the painting is a huge multi-figure composition, in which it is difficult to distinguish any main character. Some people seek salvation in the bronze snake, while others panic and try to avoid the rain of live snakes. Some are shocked by the death of their loved ones, some pray to God for forgiveness, and some curse him and Moses. The painting is full of depictions of grief, pain, horror, and death.In the center of the painting, in the background, is the prophet Moses, pointing with his staff at the brass serpent and signaling with his other hand to approach it. His gaze is stern as he looks over the heads of the suffering people. Next to him stands the high priest Eleazar, son of Aaron, Moses' brother, and behind them a group of Levites. Moses and Eleazar are placed in the geometric center of the canvas, symbolizing supernatural power — on the one hand, to punish (Eleazar), and on the other, to show the way to salvation (Moses).But it is not Moses and Eleazar, but the people in the larger foreground of the painting who first attract the viewer's attention. They are frightened and desperate, not even thinking of seeking salvation or looking at the bronze snake: it is as if they do not hear Moses or are simply incapable of heeding his advice. In the centre of the painting is a young man of athletic build, writhing in agony from snakebites. His leg is coiled with a snake, and his mouth is wide open: apparently cursing everyone "in fury and blasphemy". His figure is sometimes compared to Lanae. Sometimes his figure is compared to Laocoon, the priest of the god Apollo in Troy, who according to legend was strangled by snakes with his sons ("Laocoon and his sons").In the right foreground of the painting, a woman rushes towards her husband in fear and despair. The woman's face bears a resemblance to that of Angelica, Bruni's wife. Such an introduction of the artist's native image into the painting can be seen as a manifestation of romanticism in history painting. This woman is the local centre of the right-hand side of the painting: everyone around her is also gripped by terror. The fact that many people seek protection from their relatives and friends does not quite fit in with the biblical description, according to which it was enough to look at a bronze snake to heal people.The foreground of the left side of the canvas underwent significant changes during the course of the painting. In early sketches and in the first version (underpainting) of the painting, Bruni depicted a group of four people reaching for the bronze snake — a man carrying an old father, his wife and his son. In the final version of the painting, the group is very different — the son, his leg bandaged from the fatal bite, dying in the arms of his father and mother. Despite the depth of their grief, they do not try to reach the bronze snake: apparently having lost all hope of saving their son.To her right, a girl bent over the stone. Bruni himself described her as follows: "She is an orphan, robbed of everything on earth. She embraces, half kneeling, a stone. This stone is the only refuge for the wretched. She embraces it, weeping, and waters it with her tears". And the artist continued: "One of her brothers, still an infant, lies beside this stone — grief. I painted him dead of hunger".To the right of the girl, in the background, the artist has depicted a man leaning over a dying young woman (a bride, according to Bruni). He tries in vain to open her eyes in the hope that she will see the bronze snake. Nearby, leaning over her and putting her hand to the dying woman's heart, is an older woman, her mother.At the same time, some of the people in the background of the painting are approaching the serpent, searching for salvation. Among them is a mother with an infant, standing at the foot of a column, holding the baby's hands to it. On the right of the painting, a man carries his exhausted wife in his arms, looking hopefully towards the "Brazen Serpent" — dressed in white, she most clearly symbolises religious insight and faith in healing, with Bruni himself characterising her state as "ecstasy".The mother of two children to her left seems to be looking at this woman. But she is not: in fact she is looking up at the sky from which snakes are falling and, according to Bruni, 'fearing for her children, she wants to cover them with the hollow of her clothes'. Still to the left is a kneeling woman with a dead child in front of her. Although she is facing the bronze snake, there is no faith in redemption in her gaze, only maternal grief and resignation to fate.As a landscape, Bruni depicted, in his own words, a place 'in the middle of the stony Arabian desert near the Red Sea, where high, steep cliffs rise, the foothills of Mount Or[en]'. As the artist had never been there himself, the whole landscape was painted by his imagination: the rocks and mountains, the earth and the sky. The dark landscape, with storm clouds from which poisonous snakes fall, emphasises the ruthlessness of the punishment and the horror that engulfed the people. In this sense, the landscape plays the role of an actor in the painting. Together with the effects of light and colour, this can be seen as a manifestation of Romanticism in Bruni's classicism painting.As for the lighting of the painting, it is conditional, since it is impossible to identify a specific source of light. Most of the sky is covered with clouds, with only a small gap visible in the distance, but clearly not enough to illuminate the entire space of the painting. The groups of people in the foreground and background are relatively evenly lit. Nevertheless, some figures seem to be emitting light of their own, such as the woman dressed in white and carried by her husband.

Боткин В. П.

File:Hau. Interiors of the New Hermitage. Room of Russian Painting.jpg

Художник РСФСР

Яковлева Н. А.

Грунт (живопись)

А. В. Никитенко

Явление Христа Марии Магдалине после воскресения

Верещагина, Алла Глебовна

Гурьев, Николай Дмитриевич

Иовлева, Лидия Ивановна

Невское время

Е. Н. Петрова

С. С. Степанова.

Гусев, Владимир Александрович

Советская Россия (издательство)

The Appearance of Christ Before the People

Государственный Русский музей

Imperial Society for the Encouragement of the Arts

Ветхий Завет

Fyodor Bruni. Woman's Head (sketch for painting "Bronze Serpent")

«Наука и религия»

Брук, Яков Владимирович

Советская Россия

Painting “Brazen Serpent” in the State Hermitage Museum

Степанова, Светлана Степановна

Яковлева, Нонна Александровна

Республика (издательство)

Петрова, Евгения Николаевна

Аргументы и факты

File:The Brazen Serpent by Fyodor Bruni in the State Russian Museum IMG 4806.jpg

Л. И. Иовлева

Conservation and restoration of cultural property

Fyodor Bruni. Girl at the Stone (sketch for the painting "Bronze Serpent")

Аврора (издательство)

Христианские мученики в Колизее

Искусство (издательство)

Fyodor Bruni. Screaming Head (drawing for the painting ''The Brazen Serpent'')

Верещагина А. Г.

"The Appearance of Christ to Mary Magdalene after the Resurrection"

Society for the Encouragement of Artists (SEA)

Александр Бенуа

Степанова С. С.

Эвакуация Русского музея

Белый город (издательство)

Степанова С. С

Испытание силы Яна Усмаря

Fyodor Bruni. Young Man Climbing a Rock (drawing for painting The Bronze Serpent)

Баласогло, Александр Пантелеймонович