Prompt: Explain the Studies, sketches and reproductions of this artwork, Christ and the Woman Taken in Adultery (Polenov).

During his many years of work on the subject associated with the canvas Christ and the Woman Taken in Adultery, Polenov produced more than 150 drawings, studies, sketches and versions of the painting.The Polenovo Estate Museum houses one of Polenov's earliest sketches of the subject, created in 1873. Additionally, the museum's collection includes a sketch from 1884 (oil, 23 × 45 cm), which was transferred from France in the 1980s, and a full-length sketch from 1885, executed in charcoal on canvas (307 × 585 cm).The State Tretyakov Gallery houses an oil sketch for Christ and the Woman Taken in Adultery (1876, wood, oil, 22.2 × 34.7 cm, inv. 10581), which was acquired from Nikolay Krymov in 1930. Additionally, there is a later sketch from 1885 (canvas, oil, 26 × 48 cm, inv. 11142), which was previously owned by Ilya Ostroukhov and transferred in 1929 from the Ostroukhov Museum. Another sketch, dated 1884, belongs to the Kharkiv Art Museum.The State Russian Museum houses 27 studies for the painting. Four additional studies are held by the Tretyakov Gallery. Several studies are part of the collection of the Polenovo Museum. At least two studies for this painting were in the collection of the Rumyantsev Museum. After the museum's dissolution in 1924, one study (Christ, 1880s, oil on canvas, 114 × 75 cm) was transferred to the Yekaterinburg Museum of Fine Arts, and another (Head of an Old Man, 1883, oil on canvas, 27 × 22 cm) was transferred to the Omsk Regional Museum of Fine Arts named after M. A. Vrubel. The sketches for the painting are also held in a number of other museums and private collections.A number of reduced author's reproductions of the painting with the same name exist. One of these, undated, is held in a private collection in Moscow. The other, dated 1888 and created with the help of Sergei Korovin, is in the V. P. Sukachev Irkutsk Regional Art Museum (canvas, oil, 150 × 266 cm).The catalogue of the State Russian Museum notes the existence of another author's reproduction, dated 1907, which was exhibited at the Russian Art Exhibition in the United States in 1924. It is likely that this is the same painting which was sold in November 2011 at Bonhams' Russian auction in London for £4,073,250, or approximately $5,381,742 (oil on canvas, 118 × 239 cm), under the title He That Is Without Sin Among You. Although the painting sold at the auction is dated 1908, it was written about as having participated in the 1924 exhibition in New York City, where it was acquired by Charles Richard Crane. Prior to the auction, in October 2011, the artist's reproduction was exhibited at the Tretyakov Gallery as part of a preview of the lots.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: How does Christ and the Woman Taken in Adultery (Polenov) explain its Studies, sketches and reproductions?

During his many years of work on the subject associated with the canvas Christ and the Woman Taken in Adultery, Polenov produced more than 150 drawings, studies, sketches and versions of the painting.The Polenovo Estate Museum houses one of Polenov's earliest sketches of the subject, created in 1873. Additionally, the museum's collection includes a sketch from 1884 (oil, 23 × 45 cm), which was transferred from France in the 1980s, and a full-length sketch from 1885, executed in charcoal on canvas (307 × 585 cm).The State Tretyakov Gallery houses an oil sketch for Christ and the Woman Taken in Adultery (1876, wood, oil, 22.2 × 34.7 cm, inv. 10581), which was acquired from Nikolay Krymov in 1930. Additionally, there is a later sketch from 1885 (canvas, oil, 26 × 48 cm, inv. 11142), which was previously owned by Ilya Ostroukhov and transferred in 1929 from the Ostroukhov Museum. Another sketch, dated 1884, belongs to the Kharkiv Art Museum.The State Russian Museum houses 27 studies for the painting. Four additional studies are held by the Tretyakov Gallery. Several studies are part of the collection of the Polenovo Museum. At least two studies for this painting were in the collection of the Rumyantsev Museum. After the museum's dissolution in 1924, one study (Christ, 1880s, oil on canvas, 114 × 75 cm) was transferred to the Yekaterinburg Museum of Fine Arts, and another (Head of an Old Man, 1883, oil on canvas, 27 × 22 cm) was transferred to the Omsk Regional Museum of Fine Arts named after M. A. Vrubel. The sketches for the painting are also held in a number of other museums and private collections.A number of reduced author's reproductions of the painting with the same name exist. One of these, undated, is held in a private collection in Moscow. The other, dated 1888 and created with the help of Sergei Korovin, is in the V. P. Sukachev Irkutsk Regional Art Museum (canvas, oil, 150 × 266 cm).The catalogue of the State Russian Museum notes the existence of another author's reproduction, dated 1907, which was exhibited at the Russian Art Exhibition in the United States in 1924. It is likely that this is the same painting which was sold in November 2011 at Bonhams' Russian auction in London for £4,073,250, or approximately $5,381,742 (oil on canvas, 118 × 239 cm), under the title He That Is Without Sin Among You. Although the painting sold at the auction is dated 1908, it was written about as having participated in the 1924 exhibition in New York City, where it was acquired by Charles Richard Crane. Prior to the auction, in October 2011, the artist's reproduction was exhibited at the Tretyakov Gallery as part of a preview of the lots.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: In Christ and the Woman Taken in Adultery (Polenov), how is the Studies, sketches and reproductions discussed?

During his many years of work on the subject associated with the canvas Christ and the Woman Taken in Adultery, Polenov produced more than 150 drawings, studies, sketches and versions of the painting.The Polenovo Estate Museum houses one of Polenov's earliest sketches of the subject, created in 1873. Additionally, the museum's collection includes a sketch from 1884 (oil, 23 × 45 cm), which was transferred from France in the 1980s, and a full-length sketch from 1885, executed in charcoal on canvas (307 × 585 cm).The State Tretyakov Gallery houses an oil sketch for Christ and the Woman Taken in Adultery (1876, wood, oil, 22.2 × 34.7 cm, inv. 10581), which was acquired from Nikolay Krymov in 1930. Additionally, there is a later sketch from 1885 (canvas, oil, 26 × 48 cm, inv. 11142), which was previously owned by Ilya Ostroukhov and transferred in 1929 from the Ostroukhov Museum. Another sketch, dated 1884, belongs to the Kharkiv Art Museum.The State Russian Museum houses 27 studies for the painting. Four additional studies are held by the Tretyakov Gallery. Several studies are part of the collection of the Polenovo Museum. At least two studies for this painting were in the collection of the Rumyantsev Museum. After the museum's dissolution in 1924, one study (Christ, 1880s, oil on canvas, 114 × 75 cm) was transferred to the Yekaterinburg Museum of Fine Arts, and another (Head of an Old Man, 1883, oil on canvas, 27 × 22 cm) was transferred to the Omsk Regional Museum of Fine Arts named after M. A. Vrubel. The sketches for the painting are also held in a number of other museums and private collections.A number of reduced author's reproductions of the painting with the same name exist. One of these, undated, is held in a private collection in Moscow. The other, dated 1888 and created with the help of Sergei Korovin, is in the V. P. Sukachev Irkutsk Regional Art Museum (canvas, oil, 150 × 266 cm).The catalogue of the State Russian Museum notes the existence of another author's reproduction, dated 1907, which was exhibited at the Russian Art Exhibition in the United States in 1924. It is likely that this is the same painting which was sold in November 2011 at Bonhams' Russian auction in London for £4,073,250, or approximately $5,381,742 (oil on canvas, 118 × 239 cm), under the title He That Is Without Sin Among You. Although the painting sold at the auction is dated 1908, it was written about as having participated in the 1924 exhibition in New York City, where it was acquired by Charles Richard Crane. Prior to the auction, in October 2011, the artist's reproduction was exhibited at the Tretyakov Gallery as part of a preview of the lots.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: Focus on Christ and the Woman Taken in Adultery (Polenov) and explain the Reviews and criticism.

In his article The Exhibition of the Peredvizhniki, published on 1 March 1887, in the Novosty I Birzhevaya Gazeta, the art critic Vladimir Stasov devoted only a few sentences to Christ and the Woman Taken in Adultery. He noted that a detailed account of this significant work would require a separate article; however, he never wrote it. Stasov noted that in working on this painting Polenov "approached his task very carefully, travelled to Palestine, studied on the spot the architecture, the local types of people and nature, the light effects"; all of this produced "very interesting and powerful results". Stasov went on to write: "I will say in passing that part of Herod's temple, still extant, elegant pillars with ornamented capitals in the corner of the temple, the steps leading down from the temple, where the famous Gospel scene takes place, everything is colourful and elegant, illuminated by the bright Palestinian sun. In general, Polenov remained a graceful, elegant painter, as we have known him for a long time, since the beginning of his career in 1871. But to this he also added great skill and picturesqueness in the transfer of landscape". The writer and critic Vsevolod Garshin in his Notes on Art Exhibitions, published in March 1887 in the Saint Petersburg magazine Severny Vestnik, praised Polenov's painting, in which, in his words, "there is not a single [instance of] what they call drapery, it is all a real dress, clothes; and the artist, who has closely studied the East, has managed to dress his heroes in such a way that they really wear clothes, live in them, rather than put them on for scaffolding or posing in front of a painter".In his article Two Paintings, published in 1887 in Russkie Vedomosti, the writer and publicist Vladimir Korolenko provides a detailed analysis of the depiction of Christ in Polenov's painting. He wrote that "at first glance at a painting it is as if you do not notice its main figure", but this is only a superficial impression caused by a sudden feeling of inconsistency with established ideas. "The more you gaze at this remarkable figure, with its physical strength instead of its ascetic half-airiness, with its carelessly dropped hand on its knee, with all that unnoticed fatigue of a weary but strong man, and above all with that remarkable expression of face, the more the initial feeling is replaced by wonder, respect, love." According to Korolenko, he saw in the image of Christ "a remarkable success of artistic realism".The artist Yeghishe Tadevosyan described Polenov's Christ and the Woman Taken in Adultery as "a bright, cheerful, hot-sunny work", and called it "a daring challenge to religious prudes".The art historian Aleksei Fedorov-Davydov posited that, having rejected the tenets of official religion and ecclesiasticism, Polenov in his work had offered a realistic interpretation of both Christ and the entirety of the Gospel narrative. Nevertheless, he noted that "the depiction of a religious subject as a scene of alive real life becomes, so to speak, an end in itself". According to Fedorov-Davydov, such abstractness and lack of content were "akin to the formal understanding of the subject in academism". The realism in Polenov's painting is primarily evident in the form, or the means of depiction, rather than in the content, and that is why "he could get along with the traditions of academic historical painting". Nevertheless, in comparison with the painting Christ and the Sinner by the academic painter Henryk Siemiradzki, Fedorov-Davydov asserted that Polenov's work was "more serious, noble, substantial and artistic". In his opinion, "Polenov's painting is the most significant and serious" among the attempts to revive large-format academic historical painting.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: Explain the Reviews and criticism of this artwork, Christ and the Woman Taken in Adultery (Polenov).

In his article The Exhibition of the Peredvizhniki, published on 1 March 1887, in the Novosty I Birzhevaya Gazeta, the art critic Vladimir Stasov devoted only a few sentences to Christ and the Woman Taken in Adultery. He noted that a detailed account of this significant work would require a separate article; however, he never wrote it. Stasov noted that in working on this painting Polenov "approached his task very carefully, travelled to Palestine, studied on the spot the architecture, the local types of people and nature, the light effects"; all of this produced "very interesting and powerful results". Stasov went on to write: "I will say in passing that part of Herod's temple, still extant, elegant pillars with ornamented capitals in the corner of the temple, the steps leading down from the temple, where the famous Gospel scene takes place, everything is colourful and elegant, illuminated by the bright Palestinian sun. In general, Polenov remained a graceful, elegant painter, as we have known him for a long time, since the beginning of his career in 1871. But to this he also added great skill and picturesqueness in the transfer of landscape". The writer and critic Vsevolod Garshin in his Notes on Art Exhibitions, published in March 1887 in the Saint Petersburg magazine Severny Vestnik, praised Polenov's painting, in which, in his words, "there is not a single [instance of] what they call drapery, it is all a real dress, clothes; and the artist, who has closely studied the East, has managed to dress his heroes in such a way that they really wear clothes, live in them, rather than put them on for scaffolding or posing in front of a painter".In his article Two Paintings, published in 1887 in Russkie Vedomosti, the writer and publicist Vladimir Korolenko provides a detailed analysis of the depiction of Christ in Polenov's painting. He wrote that "at first glance at a painting it is as if you do not notice its main figure", but this is only a superficial impression caused by a sudden feeling of inconsistency with established ideas. "The more you gaze at this remarkable figure, with its physical strength instead of its ascetic half-airiness, with its carelessly dropped hand on its knee, with all that unnoticed fatigue of a weary but strong man, and above all with that remarkable expression of face, the more the initial feeling is replaced by wonder, respect, love." According to Korolenko, he saw in the image of Christ "a remarkable success of artistic realism".The artist Yeghishe Tadevosyan described Polenov's Christ and the Woman Taken in Adultery as "a bright, cheerful, hot-sunny work", and called it "a daring challenge to religious prudes".The art historian Aleksei Fedorov-Davydov posited that, having rejected the tenets of official religion and ecclesiasticism, Polenov in his work had offered a realistic interpretation of both Christ and the entirety of the Gospel narrative. Nevertheless, he noted that "the depiction of a religious subject as a scene of alive real life becomes, so to speak, an end in itself". According to Fedorov-Davydov, such abstractness and lack of content were "akin to the formal understanding of the subject in academism". The realism in Polenov's painting is primarily evident in the form, or the means of depiction, rather than in the content, and that is why "he could get along with the traditions of academic historical painting". Nevertheless, in comparison with the painting Christ and the Sinner by the academic painter Henryk Siemiradzki, Fedorov-Davydov asserted that Polenov's work was "more serious, noble, substantial and artistic". In his opinion, "Polenov's painting is the most significant and serious" among the attempts to revive large-format academic historical painting.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: How does Christ and the Woman Taken in Adultery (Polenov) explain its Reviews and criticism?

In his article The Exhibition of the Peredvizhniki, published on 1 March 1887, in the Novosty I Birzhevaya Gazeta, the art critic Vladimir Stasov devoted only a few sentences to Christ and the Woman Taken in Adultery. He noted that a detailed account of this significant work would require a separate article; however, he never wrote it. Stasov noted that in working on this painting Polenov "approached his task very carefully, travelled to Palestine, studied on the spot the architecture, the local types of people and nature, the light effects"; all of this produced "very interesting and powerful results". Stasov went on to write: "I will say in passing that part of Herod's temple, still extant, elegant pillars with ornamented capitals in the corner of the temple, the steps leading down from the temple, where the famous Gospel scene takes place, everything is colourful and elegant, illuminated by the bright Palestinian sun. In general, Polenov remained a graceful, elegant painter, as we have known him for a long time, since the beginning of his career in 1871. But to this he also added great skill and picturesqueness in the transfer of landscape". The writer and critic Vsevolod Garshin in his Notes on Art Exhibitions, published in March 1887 in the Saint Petersburg magazine Severny Vestnik, praised Polenov's painting, in which, in his words, "there is not a single [instance of] what they call drapery, it is all a real dress, clothes; and the artist, who has closely studied the East, has managed to dress his heroes in such a way that they really wear clothes, live in them, rather than put them on for scaffolding or posing in front of a painter".In his article Two Paintings, published in 1887 in Russkie Vedomosti, the writer and publicist Vladimir Korolenko provides a detailed analysis of the depiction of Christ in Polenov's painting. He wrote that "at first glance at a painting it is as if you do not notice its main figure", but this is only a superficial impression caused by a sudden feeling of inconsistency with established ideas. "The more you gaze at this remarkable figure, with its physical strength instead of its ascetic half-airiness, with its carelessly dropped hand on its knee, with all that unnoticed fatigue of a weary but strong man, and above all with that remarkable expression of face, the more the initial feeling is replaced by wonder, respect, love." According to Korolenko, he saw in the image of Christ "a remarkable success of artistic realism".The artist Yeghishe Tadevosyan described Polenov's Christ and the Woman Taken in Adultery as "a bright, cheerful, hot-sunny work", and called it "a daring challenge to religious prudes".The art historian Aleksei Fedorov-Davydov posited that, having rejected the tenets of official religion and ecclesiasticism, Polenov in his work had offered a realistic interpretation of both Christ and the entirety of the Gospel narrative. Nevertheless, he noted that "the depiction of a religious subject as a scene of alive real life becomes, so to speak, an end in itself". According to Fedorov-Davydov, such abstractness and lack of content were "akin to the formal understanding of the subject in academism". The realism in Polenov's painting is primarily evident in the form, or the means of depiction, rather than in the content, and that is why "he could get along with the traditions of academic historical painting". Nevertheless, in comparison with the painting Christ and the Sinner by the academic painter Henryk Siemiradzki, Fedorov-Davydov asserted that Polenov's work was "more serious, noble, substantial and artistic". In his opinion, "Polenov's painting is the most significant and serious" among the attempts to revive large-format academic historical painting.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Prompt: In Christ and the Woman Taken in Adultery (Polenov), how is the Reviews and criticism discussed?

In his article The Exhibition of the Peredvizhniki, published on 1 March 1887, in the Novosty I Birzhevaya Gazeta, the art critic Vladimir Stasov devoted only a few sentences to Christ and the Woman Taken in Adultery. He noted that a detailed account of this significant work would require a separate article; however, he never wrote it. Stasov noted that in working on this painting Polenov "approached his task very carefully, travelled to Palestine, studied on the spot the architecture, the local types of people and nature, the light effects"; all of this produced "very interesting and powerful results". Stasov went on to write: "I will say in passing that part of Herod's temple, still extant, elegant pillars with ornamented capitals in the corner of the temple, the steps leading down from the temple, where the famous Gospel scene takes place, everything is colourful and elegant, illuminated by the bright Palestinian sun. In general, Polenov remained a graceful, elegant painter, as we have known him for a long time, since the beginning of his career in 1871. But to this he also added great skill and picturesqueness in the transfer of landscape". The writer and critic Vsevolod Garshin in his Notes on Art Exhibitions, published in March 1887 in the Saint Petersburg magazine Severny Vestnik, praised Polenov's painting, in which, in his words, "there is not a single [instance of] what they call drapery, it is all a real dress, clothes; and the artist, who has closely studied the East, has managed to dress his heroes in such a way that they really wear clothes, live in them, rather than put them on for scaffolding or posing in front of a painter".In his article Two Paintings, published in 1887 in Russkie Vedomosti, the writer and publicist Vladimir Korolenko provides a detailed analysis of the depiction of Christ in Polenov's painting. He wrote that "at first glance at a painting it is as if you do not notice its main figure", but this is only a superficial impression caused by a sudden feeling of inconsistency with established ideas. "The more you gaze at this remarkable figure, with its physical strength instead of its ascetic half-airiness, with its carelessly dropped hand on its knee, with all that unnoticed fatigue of a weary but strong man, and above all with that remarkable expression of face, the more the initial feeling is replaced by wonder, respect, love." According to Korolenko, he saw in the image of Christ "a remarkable success of artistic realism".The artist Yeghishe Tadevosyan described Polenov's Christ and the Woman Taken in Adultery as "a bright, cheerful, hot-sunny work", and called it "a daring challenge to religious prudes".The art historian Aleksei Fedorov-Davydov posited that, having rejected the tenets of official religion and ecclesiasticism, Polenov in his work had offered a realistic interpretation of both Christ and the entirety of the Gospel narrative. Nevertheless, he noted that "the depiction of a religious subject as a scene of alive real life becomes, so to speak, an end in itself". According to Fedorov-Davydov, such abstractness and lack of content were "akin to the formal understanding of the subject in academism". The realism in Polenov's painting is primarily evident in the form, or the means of depiction, rather than in the content, and that is why "he could get along with the traditions of academic historical painting". Nevertheless, in comparison with the painting Christ and the Sinner by the academic painter Henryk Siemiradzki, Fedorov-Davydov asserted that Polenov's work was "more serious, noble, substantial and artistic". In his opinion, "Polenov's painting is the most significant and serious" among the attempts to revive large-format academic historical painting.

File:Christ and the woman taken in adultery Study 1873 grm.jpg

State Memorial Historical-Art and Natural Museum-Reserve of V. D. Polenov

''Christ and the Woman Taken in Adultery'' (sketch, 1885, canvas, charcoal, [[Polenovo

''Head of a Young Man in a Blue Coverlet'' (study, 1880s, [[State Russian Museum

''Head of a Jew'' (study, 1884, [[State Russian Museum

File:Polenov Head of a young man in a blue veil study.jpg

File:Golova evreja by Vasiliy Polenov.jpg

''Christ'' (study, 1880s, [[Yekaterinburg Museum of Fine Arts

''Christ and the Woman Taken in Adultery'' on a [[Se-tenant (philately)

File:Polenov Head of red-headed man with yellow cap study.jpg

File:Christ and the adulteress by Vasily Polenov in the State Russian Museum IMG 4823.jpg

File:Polenov Head of a young woman in a white veil study.jpg

The Appearance of Christ Before the People

''Head of a Red-haired Man in a Yellow [[Yarmulke

Grand Duke George Alexandrovich of Russia

Category:Paintings of Matthew the Apostle

Moscow School of Painting, Sculpture and Architecture

Grand Duke Konstantin Konstantinovich of Russia

File:Polenov Head of red-headed man study.jpg

''Head of a Red-haired Man in Profile'' (study, 1880s, [[State Russian Museum

''Head of a Young Woman in a White Coverlet'' (study, 1880s, [[State Russian Museum

Category:Paintings of Andrew the Apostle

Category:Paintings of Christ and the woman taken in adultery

Category:Paintings of Mark the Evangelist

story of Christ and the woman taken in adultery

''Head of Christ'' (study, c. 1887, Krasnodar Regional Art Museum)

The painting on display in the [[Mikhailovsky Palace

''Christ and the Woman Taken in Adultery'' (sketch, 1873, paper, pencil, [[State Russian Museum

Grand Duke Vladimir Alexandrovich of Russia

Category:Collection of the Russian Museum

''Christ and the Woman Taken in Adultery'' (sketch, 1885, [[State Tretyakov Gallery

File:Christ and the woman taken in adultery Study 1876 gtg.jpg

File:Christ and the woman taken in adultery Study 1885 polenovo.jpg

File:Christ and the woman taken in adultery Study 1885 gtg.jpg

''Christ and the Woman Taken in Adultery'' (sketch, 1876, [[State Tretyakov Gallery


Engagement (sculpture)

Prompt: Focus on Engagement (sculpture) and explain the abstract.

Engagement is a series of sculptures by Dennis Oppenheim depicting two diamond engagement rings. One version was installed in 2005 at Sunset Beach in Vancouver, British Columbia, Canada. Others are at the Nevada Museum of Art in Reno, Nevada, San Diego, California, Ruoholahti, Finland, Sha Tin, Hong Kong, and Leoben, Austria.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: Explain the abstract of this artwork, Engagement (sculpture).

Engagement is a series of sculptures by Dennis Oppenheim depicting two diamond engagement rings. One version was installed in 2005 at Sunset Beach in Vancouver, British Columbia, Canada. Others are at the Nevada Museum of Art in Reno, Nevada, San Diego, California, Ruoholahti, Finland, Sha Tin, Hong Kong, and Leoben, Austria.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: How does Engagement (sculpture) explain its abstract?

Engagement is a series of sculptures by Dennis Oppenheim depicting two diamond engagement rings. One version was installed in 2005 at Sunset Beach in Vancouver, British Columbia, Canada. Others are at the Nevada Museum of Art in Reno, Nevada, San Diego, California, Ruoholahti, Finland, Sha Tin, Hong Kong, and Leoben, Austria.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: In Engagement (sculpture), how is the abstract discussed?

Engagement is a series of sculptures by Dennis Oppenheim depicting two diamond engagement rings. One version was installed in 2005 at Sunset Beach in Vancouver, British Columbia, Canada. Others are at the Nevada Museum of Art in Reno, Nevada, San Diego, California, Ruoholahti, Finland, Sha Tin, Hong Kong, and Leoben, Austria.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: Focus on Engagement (sculpture) and explain the Description and history.

Engagement, installed at Sunset Beach in 2005, depicts two diamond engagement rings and stands nearly 30 feet tall. The diamonds, illuminated and tilting away from one another, are composed of translucent plexiglass boxes, steel and aluminum. The Vancouver Biennale described the sculpture as pop art. Engagement is one of several sculptures by Oppenheim that has been installed in Vancouver: The Device to Root Out Evil an upside-down aluminum church, was installed along the waterfront in Coal Harbour from 2005 to 2008, and Arriving Home was displayed within Vancouver International Airport as part of the 2009–2011 Vancouver Biennale.During November 11–17, 2007, Engagement was installed along the waterfront at Laurel and Harbor Drive in San Diego, California.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: Explain the Description and history of this artwork, Engagement (sculpture).

Engagement, installed at Sunset Beach in 2005, depicts two diamond engagement rings and stands nearly 30 feet tall. The diamonds, illuminated and tilting away from one another, are composed of translucent plexiglass boxes, steel and aluminum. The Vancouver Biennale described the sculpture as pop art. Engagement is one of several sculptures by Oppenheim that has been installed in Vancouver: The Device to Root Out Evil an upside-down aluminum church, was installed along the waterfront in Coal Harbour from 2005 to 2008, and Arriving Home was displayed within Vancouver International Airport as part of the 2009–2011 Vancouver Biennale.During November 11–17, 2007, Engagement was installed along the waterfront at Laurel and Harbor Drive in San Diego, California.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: How does Engagement (sculpture) explain its Description and history?

Engagement, installed at Sunset Beach in 2005, depicts two diamond engagement rings and stands nearly 30 feet tall. The diamonds, illuminated and tilting away from one another, are composed of translucent plexiglass boxes, steel and aluminum. The Vancouver Biennale described the sculpture as pop art. Engagement is one of several sculptures by Oppenheim that has been installed in Vancouver: The Device to Root Out Evil an upside-down aluminum church, was installed along the waterfront in Coal Harbour from 2005 to 2008, and Arriving Home was displayed within Vancouver International Airport as part of the 2009–2011 Vancouver Biennale.During November 11–17, 2007, Engagement was installed along the waterfront at Laurel and Harbor Drive in San Diego, California.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: In Engagement (sculpture), how is the Description and history discussed?

Engagement, installed at Sunset Beach in 2005, depicts two diamond engagement rings and stands nearly 30 feet tall. The diamonds, illuminated and tilting away from one another, are composed of translucent plexiglass boxes, steel and aluminum. The Vancouver Biennale described the sculpture as pop art. Engagement is one of several sculptures by Oppenheim that has been installed in Vancouver: The Device to Root Out Evil an upside-down aluminum church, was installed along the waterfront in Coal Harbour from 2005 to 2008, and Arriving Home was displayed within Vancouver International Airport as part of the 2009–2011 Vancouver Biennale.During November 11–17, 2007, Engagement was installed along the waterfront at Laurel and Harbor Drive in San Diego, California.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: Focus on Engagement (sculpture) and explain the Interpretation and reception.

Oppenheim, who often declines to explain his works, kept the meaning of Engagement ambiguous on purpose. According to the San Diego Port, the work reminds spectators that "marriage requires a balance between two people with different interests, tastes and backgrounds" and represents the "dichotomy of marriage, expressing the romantic and the melancholy".Debates over same-sex marriage in Canada were taking place around the time the work was installed in Vancouver.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: Explain the Interpretation and reception of this artwork, Engagement (sculpture).

Oppenheim, who often declines to explain his works, kept the meaning of Engagement ambiguous on purpose. According to the San Diego Port, the work reminds spectators that "marriage requires a balance between two people with different interests, tastes and backgrounds" and represents the "dichotomy of marriage, expressing the romantic and the melancholy".Debates over same-sex marriage in Canada were taking place around the time the work was installed in Vancouver.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: How does Engagement (sculpture) explain its Interpretation and reception?

Oppenheim, who often declines to explain his works, kept the meaning of Engagement ambiguous on purpose. According to the San Diego Port, the work reminds spectators that "marriage requires a balance between two people with different interests, tastes and backgrounds" and represents the "dichotomy of marriage, expressing the romantic and the melancholy".Debates over same-sex marriage in Canada were taking place around the time the work was installed in Vancouver.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Engagement (sculpture)

Prompt: In Engagement (sculpture), how is the Interpretation and reception discussed?

Oppenheim, who often declines to explain his works, kept the meaning of Engagement ambiguous on purpose. According to the San Diego Port, the work reminds spectators that "marriage requires a balance between two people with different interests, tastes and backgrounds" and represents the "dichotomy of marriage, expressing the romantic and the melancholy".Debates over same-sex marriage in Canada were taking place around the time the work was installed in Vancouver.

Category:Outdoor sculptures in Vancouver

File:Engagement rings with buildings, Sunset Beach, Vancouver BC.tif

Category:2005 establishments in British Columbia

Vancouver International Sculpture Biennale


Reclining Figure (Lincoln Center)

Prompt: Focus on Reclining Figure (Lincoln Center) and explain the abstract.

Reclining Figure (Lincoln Center) (LH 519) is a statue by Henry Moore.  The original two-part bronze statue of a human figure was commissioned for the Lincoln Center for the Performing Arts in New York City, where it has been displayed outdoors since 1965 in a pool of water to the north of the new Metropolitan Opera House. Other copies in plaster or bronze exist, and are displayed in other cities.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: Explain the abstract of this artwork, Reclining Figure (Lincoln Center).

Reclining Figure (Lincoln Center) (LH 519) is a statue by Henry Moore.  The original two-part bronze statue of a human figure was commissioned for the Lincoln Center for the Performing Arts in New York City, where it has been displayed outdoors since 1965 in a pool of water to the north of the new Metropolitan Opera House. Other copies in plaster or bronze exist, and are displayed in other cities.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: How does Reclining Figure (Lincoln Center) explain its abstract?

Reclining Figure (Lincoln Center) (LH 519) is a statue by Henry Moore.  The original two-part bronze statue of a human figure was commissioned for the Lincoln Center for the Performing Arts in New York City, where it has been displayed outdoors since 1965 in a pool of water to the north of the new Metropolitan Opera House. Other copies in plaster or bronze exist, and are displayed in other cities.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: In Reclining Figure (Lincoln Center), how is the abstract discussed?

Reclining Figure (Lincoln Center) (LH 519) is a statue by Henry Moore.  The original two-part bronze statue of a human figure was commissioned for the Lincoln Center for the Performing Arts in New York City, where it has been displayed outdoors since 1965 in a pool of water to the north of the new Metropolitan Opera House. Other copies in plaster or bronze exist, and are displayed in other cities.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: Focus on Reclining Figure (Lincoln Center) and explain the Background.

Moore received the commission to create a sculpture for a pool of water outside the Lincoln Center in December 1961, with the substantial fee of $225,000 to cover all his costs, including materials, casting and shipping, using funds donated by Albert List and Vera List.  The center's architect, Gordon Bunshaft of Skidmore, Owings & Merrill, suggested Moore, but there was resistance from some members of the Lincoln Center Arts Committee. Some objected to the selection of a European sculptor; Newbold Morris, then Parks Commissioner of New York City, described the work as "junk", and wanted it removed.Moore visited the site in 1962, exclaiming that the pool was as big as a cricket pitch, but declined to create a site-specific work. Instead, the work was based on some exiting ideas from Moore's earlier drawings and maquettes.  Moore was attracted by the idea that the work would be reflected in the water, and decided to work on the concept of woman and rock rising from the water.  (Meanwhile, back-room negotiations ensured that the Moore sculpture intended for the Lincoln Center would not become overshadowed by prospective Moore commissions for the Seagram Building, at One Chase Manhattan Plaza, and at Columbia Law School, although a cast of Moore's Three-Way Piece: Points was installed at Columbia in 1967.)

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: Explain the Background of this artwork, Reclining Figure (Lincoln Center).

Moore received the commission to create a sculpture for a pool of water outside the Lincoln Center in December 1961, with the substantial fee of $225,000 to cover all his costs, including materials, casting and shipping, using funds donated by Albert List and Vera List.  The center's architect, Gordon Bunshaft of Skidmore, Owings & Merrill, suggested Moore, but there was resistance from some members of the Lincoln Center Arts Committee. Some objected to the selection of a European sculptor; Newbold Morris, then Parks Commissioner of New York City, described the work as "junk", and wanted it removed.Moore visited the site in 1962, exclaiming that the pool was as big as a cricket pitch, but declined to create a site-specific work. Instead, the work was based on some exiting ideas from Moore's earlier drawings and maquettes.  Moore was attracted by the idea that the work would be reflected in the water, and decided to work on the concept of woman and rock rising from the water.  (Meanwhile, back-room negotiations ensured that the Moore sculpture intended for the Lincoln Center would not become overshadowed by prospective Moore commissions for the Seagram Building, at One Chase Manhattan Plaza, and at Columbia Law School, although a cast of Moore's Three-Way Piece: Points was installed at Columbia in 1967.)

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: How does Reclining Figure (Lincoln Center) explain its Background?

Moore received the commission to create a sculpture for a pool of water outside the Lincoln Center in December 1961, with the substantial fee of $225,000 to cover all his costs, including materials, casting and shipping, using funds donated by Albert List and Vera List.  The center's architect, Gordon Bunshaft of Skidmore, Owings & Merrill, suggested Moore, but there was resistance from some members of the Lincoln Center Arts Committee. Some objected to the selection of a European sculptor; Newbold Morris, then Parks Commissioner of New York City, described the work as "junk", and wanted it removed.Moore visited the site in 1962, exclaiming that the pool was as big as a cricket pitch, but declined to create a site-specific work. Instead, the work was based on some exiting ideas from Moore's earlier drawings and maquettes.  Moore was attracted by the idea that the work would be reflected in the water, and decided to work on the concept of woman and rock rising from the water.  (Meanwhile, back-room negotiations ensured that the Moore sculpture intended for the Lincoln Center would not become overshadowed by prospective Moore commissions for the Seagram Building, at One Chase Manhattan Plaza, and at Columbia Law School, although a cast of Moore's Three-Way Piece: Points was installed at Columbia in 1967.)

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: In Reclining Figure (Lincoln Center), how is the Background discussed?

Moore received the commission to create a sculpture for a pool of water outside the Lincoln Center in December 1961, with the substantial fee of $225,000 to cover all his costs, including materials, casting and shipping, using funds donated by Albert List and Vera List.  The center's architect, Gordon Bunshaft of Skidmore, Owings & Merrill, suggested Moore, but there was resistance from some members of the Lincoln Center Arts Committee. Some objected to the selection of a European sculptor; Newbold Morris, then Parks Commissioner of New York City, described the work as "junk", and wanted it removed.Moore visited the site in 1962, exclaiming that the pool was as big as a cricket pitch, but declined to create a site-specific work. Instead, the work was based on some exiting ideas from Moore's earlier drawings and maquettes.  Moore was attracted by the idea that the work would be reflected in the water, and decided to work on the concept of woman and rock rising from the water.  (Meanwhile, back-room negotiations ensured that the Moore sculpture intended for the Lincoln Center would not become overshadowed by prospective Moore commissions for the Seagram Building, at One Chase Manhattan Plaza, and at Columbia Law School, although a cast of Moore's Three-Way Piece: Points was installed at Columbia in 1967.)

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: Focus on Reclining Figure (Lincoln Center) and explain the Description.

The sculpture comprises two elements: one resembles the head and torso of a human figure, and the other can be seen the figure's legs.  The torso is a relatively thin slab of bronze, with protruding rounded lumps suggesting body parts, the top terminating at a fin which can be interpreted as the head and which extends down the back of the torso into its backbone.  It has no discernible arms, and becomes arched into two parts as it enters the water.  It leans towards the second element, which also joins the water with columns separated by an arch.  The roughly textured surfaces and other smoothly rounded faces of the second element bear some resemblance to an eroded cliff.  Indeed, the art critic David Thompson has suggested an allusion to the arch at Étretat painted by several French Impressionists.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: Explain the Description of this artwork, Reclining Figure (Lincoln Center).

The sculpture comprises two elements: one resembles the head and torso of a human figure, and the other can be seen the figure's legs.  The torso is a relatively thin slab of bronze, with protruding rounded lumps suggesting body parts, the top terminating at a fin which can be interpreted as the head and which extends down the back of the torso into its backbone.  It has no discernible arms, and becomes arched into two parts as it enters the water.  It leans towards the second element, which also joins the water with columns separated by an arch.  The roughly textured surfaces and other smoothly rounded faces of the second element bear some resemblance to an eroded cliff.  Indeed, the art critic David Thompson has suggested an allusion to the arch at Étretat painted by several French Impressionists.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: How does Reclining Figure (Lincoln Center) explain its Description?

The sculpture comprises two elements: one resembles the head and torso of a human figure, and the other can be seen the figure's legs.  The torso is a relatively thin slab of bronze, with protruding rounded lumps suggesting body parts, the top terminating at a fin which can be interpreted as the head and which extends down the back of the torso into its backbone.  It has no discernible arms, and becomes arched into two parts as it enters the water.  It leans towards the second element, which also joins the water with columns separated by an arch.  The roughly textured surfaces and other smoothly rounded faces of the second element bear some resemblance to an eroded cliff.  Indeed, the art critic David Thompson has suggested an allusion to the arch at Étretat painted by several French Impressionists.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: In Reclining Figure (Lincoln Center), how is the Description discussed?

The sculpture comprises two elements: one resembles the head and torso of a human figure, and the other can be seen the figure's legs.  The torso is a relatively thin slab of bronze, with protruding rounded lumps suggesting body parts, the top terminating at a fin which can be interpreted as the head and which extends down the back of the torso into its backbone.  It has no discernible arms, and becomes arched into two parts as it enters the water.  It leans towards the second element, which also joins the water with columns separated by an arch.  The roughly textured surfaces and other smoothly rounded faces of the second element bear some resemblance to an eroded cliff.  Indeed, the art critic David Thompson has suggested an allusion to the arch at Étretat painted by several French Impressionists.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: Focus on Reclining Figure (Lincoln Center) and explain the Casts.

Moore's ideas for the sculpture may have been inspired by a flint stone, and he probably worked on some early clay or plaster maquettes in 1962 to develop his ideas, although none have been identified from those that survive.  Two of the maquettes were increased in scale to create half-size plaster working models, each supported by an armature.  Moore worked on the surface of the working models with chisels and other tools.  The completed plaster models were painted a dark colour, and placed in a pond at his home and studio at Perry Green, Hertfordshire.  Moore selected one working model (LH 518) for the Lincoln Center commission, and the other became Two Piece Reclining Figure No.5 1963-4 (LH 517).Moore later had two bronze casts made of the plaster working model, measuring 2.35 by 3.72 by 1.65 metres (7 ft 9 in × 12 ft 2 in × 5 ft 5 in).  Moore presented one bronze cast to the Tate Gallery in 1978, along with 35 other works.  It was included in the exhibition to celebrate Moore's 80th birthday at the Tate that year, on the grass outside the gallery.  It has been on long-term loan to Charing Cross Hospital since 1980, where it is displayed in a pool that was created for it.  Moore donated the plaster working model to the Art Gallery of Ontario in 1974.  A second bronze cast is in the collection of the MIT List Visual Arts Center, mounted on a granite base; it was donated by Vera Glaser List in memory of Samuel Glaser. A third version is located on Henry Moore’s estate in Hertfordshire, England.The working model was scaled up again to create a plaster version of the full-size sculpture.  This sculpture was so large that Moore needed a new temporary studio, a metal structure covered with transparent plastic sheeting, to house it while he worked on it.  He used the same structure for his largest outdoor works until it became dilapidated and was removed in the 1980s.After the full-scale plaster model was completed in August 1964, it was cut into pieces to be sent to the Hermann Noack foundry in Berlin, where the pieces were cast in bronze and welded together again to create the completed work.  It was shipped on MS Finnclipper in July 1965, and installed at the Lincoln Centre on 21 September 1965.The 6-short-ton (5.4 t) full-size bronze sculpture (LH 519) is 16 feet (4.9 m) high and 30 feet (9.1 m) feet long, making it Moore's largest work at that date: it was twice the size of his stone UNESCO Reclining Figure of 1958, although his later Large Reclining Figure of 1984 would be 9 metres (30 ft) long.The work was removed in 2007, to allow the North Plaza at the Lincoln Center to be reconfigured.  The sculpture was reinstalled in a smaller pool in 2009, which was named the Paul Milstein Pool in 2011.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: Explain the Casts of this artwork, Reclining Figure (Lincoln Center).

Moore's ideas for the sculpture may have been inspired by a flint stone, and he probably worked on some early clay or plaster maquettes in 1962 to develop his ideas, although none have been identified from those that survive.  Two of the maquettes were increased in scale to create half-size plaster working models, each supported by an armature.  Moore worked on the surface of the working models with chisels and other tools.  The completed plaster models were painted a dark colour, and placed in a pond at his home and studio at Perry Green, Hertfordshire.  Moore selected one working model (LH 518) for the Lincoln Center commission, and the other became Two Piece Reclining Figure No.5 1963-4 (LH 517).Moore later had two bronze casts made of the plaster working model, measuring 2.35 by 3.72 by 1.65 metres (7 ft 9 in × 12 ft 2 in × 5 ft 5 in).  Moore presented one bronze cast to the Tate Gallery in 1978, along with 35 other works.  It was included in the exhibition to celebrate Moore's 80th birthday at the Tate that year, on the grass outside the gallery.  It has been on long-term loan to Charing Cross Hospital since 1980, where it is displayed in a pool that was created for it.  Moore donated the plaster working model to the Art Gallery of Ontario in 1974.  A second bronze cast is in the collection of the MIT List Visual Arts Center, mounted on a granite base; it was donated by Vera Glaser List in memory of Samuel Glaser. A third version is located on Henry Moore’s estate in Hertfordshire, England.The working model was scaled up again to create a plaster version of the full-size sculpture.  This sculpture was so large that Moore needed a new temporary studio, a metal structure covered with transparent plastic sheeting, to house it while he worked on it.  He used the same structure for his largest outdoor works until it became dilapidated and was removed in the 1980s.After the full-scale plaster model was completed in August 1964, it was cut into pieces to be sent to the Hermann Noack foundry in Berlin, where the pieces were cast in bronze and welded together again to create the completed work.  It was shipped on MS Finnclipper in July 1965, and installed at the Lincoln Centre on 21 September 1965.The 6-short-ton (5.4 t) full-size bronze sculpture (LH 519) is 16 feet (4.9 m) high and 30 feet (9.1 m) feet long, making it Moore's largest work at that date: it was twice the size of his stone UNESCO Reclining Figure of 1958, although his later Large Reclining Figure of 1984 would be 9 metres (30 ft) long.The work was removed in 2007, to allow the North Plaza at the Lincoln Center to be reconfigured.  The sculpture was reinstalled in a smaller pool in 2009, which was named the Paul Milstein Pool in 2011.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: How does Reclining Figure (Lincoln Center) explain its Casts?

Moore's ideas for the sculpture may have been inspired by a flint stone, and he probably worked on some early clay or plaster maquettes in 1962 to develop his ideas, although none have been identified from those that survive.  Two of the maquettes were increased in scale to create half-size plaster working models, each supported by an armature.  Moore worked on the surface of the working models with chisels and other tools.  The completed plaster models were painted a dark colour, and placed in a pond at his home and studio at Perry Green, Hertfordshire.  Moore selected one working model (LH 518) for the Lincoln Center commission, and the other became Two Piece Reclining Figure No.5 1963-4 (LH 517).Moore later had two bronze casts made of the plaster working model, measuring 2.35 by 3.72 by 1.65 metres (7 ft 9 in × 12 ft 2 in × 5 ft 5 in).  Moore presented one bronze cast to the Tate Gallery in 1978, along with 35 other works.  It was included in the exhibition to celebrate Moore's 80th birthday at the Tate that year, on the grass outside the gallery.  It has been on long-term loan to Charing Cross Hospital since 1980, where it is displayed in a pool that was created for it.  Moore donated the plaster working model to the Art Gallery of Ontario in 1974.  A second bronze cast is in the collection of the MIT List Visual Arts Center, mounted on a granite base; it was donated by Vera Glaser List in memory of Samuel Glaser. A third version is located on Henry Moore’s estate in Hertfordshire, England.The working model was scaled up again to create a plaster version of the full-size sculpture.  This sculpture was so large that Moore needed a new temporary studio, a metal structure covered with transparent plastic sheeting, to house it while he worked on it.  He used the same structure for his largest outdoor works until it became dilapidated and was removed in the 1980s.After the full-scale plaster model was completed in August 1964, it was cut into pieces to be sent to the Hermann Noack foundry in Berlin, where the pieces were cast in bronze and welded together again to create the completed work.  It was shipped on MS Finnclipper in July 1965, and installed at the Lincoln Centre on 21 September 1965.The 6-short-ton (5.4 t) full-size bronze sculpture (LH 519) is 16 feet (4.9 m) high and 30 feet (9.1 m) feet long, making it Moore's largest work at that date: it was twice the size of his stone UNESCO Reclining Figure of 1958, although his later Large Reclining Figure of 1984 would be 9 metres (30 ft) long.The work was removed in 2007, to allow the North Plaza at the Lincoln Center to be reconfigured.  The sculpture was reinstalled in a smaller pool in 2009, which was named the Paul Milstein Pool in 2011.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Reclining Figure (Lincoln Center)

Prompt: In Reclining Figure (Lincoln Center), how is the Casts discussed?

Moore's ideas for the sculpture may have been inspired by a flint stone, and he probably worked on some early clay or plaster maquettes in 1962 to develop his ideas, although none have been identified from those that survive.  Two of the maquettes were increased in scale to create half-size plaster working models, each supported by an armature.  Moore worked on the surface of the working models with chisels and other tools.  The completed plaster models were painted a dark colour, and placed in a pond at his home and studio at Perry Green, Hertfordshire.  Moore selected one working model (LH 518) for the Lincoln Center commission, and the other became Two Piece Reclining Figure No.5 1963-4 (LH 517).Moore later had two bronze casts made of the plaster working model, measuring 2.35 by 3.72 by 1.65 metres (7 ft 9 in × 12 ft 2 in × 5 ft 5 in).  Moore presented one bronze cast to the Tate Gallery in 1978, along with 35 other works.  It was included in the exhibition to celebrate Moore's 80th birthday at the Tate that year, on the grass outside the gallery.  It has been on long-term loan to Charing Cross Hospital since 1980, where it is displayed in a pool that was created for it.  Moore donated the plaster working model to the Art Gallery of Ontario in 1974.  A second bronze cast is in the collection of the MIT List Visual Arts Center, mounted on a granite base; it was donated by Vera Glaser List in memory of Samuel Glaser. A third version is located on Henry Moore’s estate in Hertfordshire, England.The working model was scaled up again to create a plaster version of the full-size sculpture.  This sculpture was so large that Moore needed a new temporary studio, a metal structure covered with transparent plastic sheeting, to house it while he worked on it.  He used the same structure for his largest outdoor works until it became dilapidated and was removed in the 1980s.After the full-scale plaster model was completed in August 1964, it was cut into pieces to be sent to the Hermann Noack foundry in Berlin, where the pieces were cast in bronze and welded together again to create the completed work.  It was shipped on MS Finnclipper in July 1965, and installed at the Lincoln Centre on 21 September 1965.The 6-short-ton (5.4 t) full-size bronze sculpture (LH 519) is 16 feet (4.9 m) high and 30 feet (9.1 m) feet long, making it Moore's largest work at that date: it was twice the size of his stone UNESCO Reclining Figure of 1958, although his later Large Reclining Figure of 1984 would be 9 metres (30 ft) long.The work was removed in 2007, to allow the North Plaza at the Lincoln Center to be reconfigured.  The sculpture was reinstalled in a smaller pool in 2009, which was named the Paul Milstein Pool in 2011.

File:Henry Moore - Two Piece Reclining Figure 5 - Kenwood.jpg

Category:Massachusetts Institute of Technology campus

Category:Bronze sculptures in Massachusetts

Category:Outdoor sculptures in Manhattan

New York City Department of Parks and Recreation

Metropolitan Opera House (Lincoln Center)

Category:Abstract sculptures in the United States

''Two Piece Reclining Figure No.5 1963-4'' at Kenwood House in 2005

Category:Outdoor sculptures in Cambridge, Massachusetts

Category:Abstract sculptures in New York City


Self-portrait in a Convex Mirror

Prompt: Focus on Self-portrait in a Convex Mirror and explain the abstract.

Self-portrait in a Convex Mirror (c. 1524) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: Explain the abstract of this artwork, Self-portrait in a Convex Mirror.

Self-portrait in a Convex Mirror (c. 1524) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: How does Self-portrait in a Convex Mirror explain its abstract?

Self-portrait in a Convex Mirror (c. 1524) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: In Self-portrait in a Convex Mirror, how is the abstract discussed?

Self-portrait in a Convex Mirror (c. 1524) is a painting by the Italian late Renaissance artist Parmigianino. It is housed in the Kunsthistorisches Museum, Vienna, Austria.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: Focus on Self-portrait in a Convex Mirror and explain the History.

The work is mentioned by Late Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers.The portrait was donated to pope Clement VII, and later to writer Pietro Aretino, in whose house Vasari himself, then still a child, saw it. It was later acquired by Vicentine sculptor Valerio Belli and, after his death in 1546, by his son Elio. Through the intercession of Andrea Palladio, in 1560 the work went to Venetian sculptor Alessandro Vittoria, who bequeathed it to emperor Rudolf II. It arrived in Prague in 1608, and later it became part of the Habsburg imperial collections in Vienna (1777), although attributed to Correggio.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: Explain the History of this artwork, Self-portrait in a Convex Mirror.

The work is mentioned by Late Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers.The portrait was donated to pope Clement VII, and later to writer Pietro Aretino, in whose house Vasari himself, then still a child, saw it. It was later acquired by Vicentine sculptor Valerio Belli and, after his death in 1546, by his son Elio. Through the intercession of Andrea Palladio, in 1560 the work went to Venetian sculptor Alessandro Vittoria, who bequeathed it to emperor Rudolf II. It arrived in Prague in 1608, and later it became part of the Habsburg imperial collections in Vienna (1777), although attributed to Correggio.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: How does Self-portrait in a Convex Mirror explain its History?

The work is mentioned by Late Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers.The portrait was donated to pope Clement VII, and later to writer Pietro Aretino, in whose house Vasari himself, then still a child, saw it. It was later acquired by Vicentine sculptor Valerio Belli and, after his death in 1546, by his son Elio. Through the intercession of Andrea Palladio, in 1560 the work went to Venetian sculptor Alessandro Vittoria, who bequeathed it to emperor Rudolf II. It arrived in Prague in 1608, and later it became part of the Habsburg imperial collections in Vienna (1777), although attributed to Correggio.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: In Self-portrait in a Convex Mirror, how is the History discussed?

The work is mentioned by Late Renaissance art biographer Giorgio Vasari, who lists it as one of three small-size paintings that the artist brought to Rome with him in 1525. Vasari relays that the self-portrait was created by Parmigianino as an example to showcase his talent to potential customers.The portrait was donated to pope Clement VII, and later to writer Pietro Aretino, in whose house Vasari himself, then still a child, saw it. It was later acquired by Vicentine sculptor Valerio Belli and, after his death in 1546, by his son Elio. Through the intercession of Andrea Palladio, in 1560 the work went to Venetian sculptor Alessandro Vittoria, who bequeathed it to emperor Rudolf II. It arrived in Prague in 1608, and later it became part of the Habsburg imperial collections in Vienna (1777), although attributed to Correggio.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: Focus on Self-portrait in a Convex Mirror and explain the Description.

The painting depicts the young artist (then twenty one)  in the middle of a room, distorted by the use of a convex mirror. The hand in the foreground is greatly elongated and distorted by the mirror. The work was painted on a specially-prepared convex panel in order to mimic the curve of the mirror used.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: Explain the Description of this artwork, Self-portrait in a Convex Mirror.

The painting depicts the young artist (then twenty one)  in the middle of a room, distorted by the use of a convex mirror. The hand in the foreground is greatly elongated and distorted by the mirror. The work was painted on a specially-prepared convex panel in order to mimic the curve of the mirror used.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: How does Self-portrait in a Convex Mirror explain its Description?

The painting depicts the young artist (then twenty one)  in the middle of a room, distorted by the use of a convex mirror. The hand in the foreground is greatly elongated and distorted by the mirror. The work was painted on a specially-prepared convex panel in order to mimic the curve of the mirror used.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Self-portrait in a Convex Mirror

Prompt: In Self-portrait in a Convex Mirror, how is the Description discussed?

The painting depicts the young artist (then twenty one)  in the middle of a room, distorted by the use of a convex mirror. The hand in the foreground is greatly elongated and distorted by the mirror. The work was painted on a specially-prepared convex panel in order to mimic the curve of the mirror used.

Self-Portrait in a Convex Mirror (poetry collection)

Category:Paintings in the Kunsthistorisches Museum

Lives of the Most Excellent Painters, Sculptors, and Architects


Rebirth (sculpture)

Prompt: Focus on Rebirth (sculpture) and explain the abstract.

Rebirth, nicknamed "Deer Baby" and "Twilight Zone Bambi", was a proposed outdoor sculpture by American artist Seyed Alavi, considered for installation at the MAX Orange Line's Southeast Park Avenue MAX Station in Oak Grove, an unincorporated area neighboring Milwaukie in Clackamas County, Oregon, in the United States. The design of the unfinished creative work, which featured a 30-foot (9.1 m) deer with a child's face, was met with a mixed reception. Unable to meet TriMet's standards and remain under budget, in November 2011 Alavi withdrew his design from the project.

Alavi's second, more "humanized", rendering of the sculpture

File:Seyed Alavi's second rendering of Rebirth.jpg


Rebirth (sculpture)

Prompt: Explain the abstract of this artwork, Rebirth (sculpture).

Rebirth, nicknamed "Deer Baby" and "Twilight Zone Bambi", was a proposed outdoor sculpture by American artist Seyed Alavi, considered for installation at the MAX Orange Line's Southeast Park Avenue MAX Station in Oak Grove, an unincorporated area neighboring Milwaukie in Clackamas County, Oregon, in the United States. The design of the unfinished creative work, which featured a 30-foot (9.1 m) deer with a child's face, was met with a mixed reception. Unable to meet TriMet's standards and remain under budget, in November 2011 Alavi withdrew his design from the project.

Alavi's second, more "humanized", rendering of the sculpture

File:Seyed Alavi's second rendering of Rebirth.jpg


Rebirth (sculpture)

Prompt: How does Rebirth (sculpture) explain its abstract?

Rebirth, nicknamed "Deer Baby" and "Twilight Zone Bambi", was a proposed outdoor sculpture by American artist Seyed Alavi, considered for installation at the MAX Orange Line's Southeast Park Avenue MAX Station in Oak Grove, an unincorporated area neighboring Milwaukie in Clackamas County, Oregon, in the United States. The design of the unfinished creative work, which featured a 30-foot (9.1 m) deer with a child's face, was met with a mixed reception. Unable to meet TriMet's standards and remain under budget, in November 2011 Alavi withdrew his design from the project.

Alavi's second, more "humanized", rendering of the sculpture

File:Seyed Alavi's second rendering of Rebirth.jpg


Rebirth (sculpture)

Prompt: In Rebirth (sculpture), how is the abstract discussed?

Rebirth, nicknamed "Deer Baby" and "Twilight Zone Bambi", was a proposed outdoor sculpture by American artist Seyed Alavi, considered for installation at the MAX Orange Line's Southeast Park Avenue MAX Station in Oak Grove, an unincorporated area neighboring Milwaukie in Clackamas County, Oregon, in the United States. The design of the unfinished creative work, which featured a 30-foot (9.1 m) deer with a child's face, was met with a mixed reception. Unable to meet TriMet's standards and remain under budget, in November 2011 Alavi withdrew his design from the project.

Alavi's second, more "humanized", rendering of the sculpture

File:Seyed Alavi's second rendering of Rebirth.jpg


Rebirth (sculpture)

Prompt: Focus on Rebirth (sculpture) and explain the Description.

Seyed Alavi's Rebirth was a proposed sculpture considered for installation at the MAX Orange Line's Southeast Park Avenue MAX Station in Oak Grove, an unincorporated area neighboring Milwaukie. The design of the unfinished creative work called for a 30-foot (9.1 m) yellow-painted deer with a child's face and was intended to represent "the interaction between the nearby riparian forest and the people living in Oak Grove". In its concept proposal, the art installation is described as:A large, stylized deer with childlike face speaks to the community's vision of renewal and the proximity of the station to the new Trolley Trail. Drawn from many traditions from NW Coast Native American carvings to colossal roadside sculpture, Rebirth is a monumental icon that creates a link between the natural environment and the commercial strip of McLoughlin Boulevard.Two renderings of Alavi's design were made available to the public; the first computer-generated image did not include context, which arguably provoked debate over its design, while the second was more "humanized" and illustrated how the installation could interact with people and the surrounding environment. TriMet confirmed at least two changes to the sculpture's original design: a 15-foot (4.6 m) move to the southeast to avoid crossing into the Trolley Trail or Milwaukie's boundaries, and removal of its mosaic tile facade to reduce costs.In October 2011, the artist presented a revised concept to TriMet's Public Art Advisory Committee. The sculpture's color and dimensions were unchanged, but it would be made of glass-reinforced concrete. Its surface treatment remained undetermined, but Alavi wanted one that would be "natural or inherent" to the material to achieve a "reflective, glowing, and magical" appearance. The committee preferred the reflective appearance seen in the artist's original design and requested material samples at his final presentation, which was scheduled to take place in December.

Alavi's second, more "humanized", rendering of the sculpture

File:Seyed Alavi's second rendering of Rebirth.jpg


Rebirth (sculpture)

Prompt: Explain the Description of this artwork, Rebirth (sculpture).

Seyed Alavi's Rebirth was a proposed sculpture considered for installation at the MAX Orange Line's Southeast Park Avenue MAX Station in Oak Grove, an unincorporated area neighboring Milwaukie. The design of the unfinished creative work called for a 30-foot (9.1 m) yellow-painted deer with a child's face and was intended to represent "the interaction between the nearby riparian forest and the people living in Oak Grove". In its concept proposal, the art installation is described as:A large, stylized deer with childlike face speaks to the community's vision of renewal and the proximity of the station to the new Trolley Trail. Drawn from many traditions from NW Coast Native American carvings to colossal roadside sculpture, Rebirth is a monumental icon that creates a link between the natural environment and the commercial strip of McLoughlin Boulevard.Two renderings of Alavi's design were made available to the public; the first computer-generated image did not include context, which arguably provoked debate over its design, while the second was more "humanized" and illustrated how the installation could interact with people and the surrounding environment. TriMet confirmed at least two changes to the sculpture's original design: a 15-foot (4.6 m) move to the southeast to avoid crossing into the Trolley Trail or Milwaukie's boundaries, and removal of its mosaic tile facade to reduce costs.In October 2011, the artist presented a revised concept to TriMet's Public Art Advisory Committee. The sculpture's color and dimensions were unchanged, but it would be made of glass-reinforced concrete. Its surface treatment remained undetermined, but Alavi wanted one that would be "natural or inherent" to the material to achieve a "reflective, glowing, and magical" appearance. The committee preferred the reflective appearance seen in the artist's original design and requested material samples at his final presentation, which was scheduled to take place in December.

Alavi's second, more "humanized", rendering of the sculpture

File:Seyed Alavi's second rendering of Rebirth.jpg


Rebirth (sculpture)

Prompt: How does Rebirth (sculpture) explain its Description?

Seyed Alavi's Rebirth was a proposed sculpture considered for installation at the MAX Orange Line's Southeast Park Avenue MAX Station in Oak Grove, an unincorporated area neighboring Milwaukie. The design of the unfinished creative work called for a 30-foot (9.1 m) yellow-painted deer with a child's face and was intended to represent "the interaction between the nearby riparian forest and the people living in Oak Grove". In its concept proposal, the art installation is described as:A large, stylized deer with childlike face speaks to the community's vision of renewal and the proximity of the station to the new Trolley Trail. Drawn from many traditions from NW Coast Native American carvings to colossal roadside sculpture, Rebirth is a monumental icon that creates a link between the natural environment and the commercial strip of McLoughlin Boulevard.Two renderings of Alavi's design were made available to the public; the first computer-generated image did not include context, which arguably provoked debate over its design, while the second was more "humanized" and illustrated how the installation could interact with people and the surrounding environment. TriMet confirmed at least two changes to the sculpture's original design: a 15-foot (4.6 m) move to the southeast to avoid crossing into the Trolley Trail or Milwaukie's boundaries, and removal of its mosaic tile facade to reduce costs.In October 2011, the artist presented a revised concept to TriMet's Public Art Advisory Committee. The sculpture's color and dimensions were unchanged, but it would be made of glass-reinforced concrete. Its surface treatment remained undetermined, but Alavi wanted one that would be "natural or inherent" to the material to achieve a "reflective, glowing, and magical" appearance. The committee preferred the reflective appearance seen in the artist's original design and requested material samples at his final presentation, which was scheduled to take place in December.

Alavi's second, more "humanized", rendering of the sculpture

File:Seyed Alavi's second rendering of Rebirth.jpg